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Garland of Flowers with Saint Anthony of Padua
Pérez, Bartolomé
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Pérez, Bartolomé

Madrid, 1634 - Madrid, 1698

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Garland of Flowers with Saint Anthony of Padua

After 1689. Oil on canvas Not on display

This is one of the artist’s later works. It must date from 1689 at the very earliest, as that is the year he became one of the king’s painters and this is indicated alongside his signature by the letters P and R, intertwined and topped by a crown. This sort of work- a religious scene surrounded by a garland -was quite frequent in 17th-century Flemish painting, but the same genre was cultivated by Arellano, to whom Pérez had close professional and family ties.

The flamboyant composition recalls those by Seghers (1590-1661) or by members of the Brueghel family. However, the use of cartouches inside the work, which was customary in paintings by Seghers and was adopted by Arellano, has been replaced here by a freer and more appropriate depiction of the miracle being narrated: Saint Anthony of Padua’s vision of the Christ Child. Other indications that Pérez was exploring the baroque decorative approach then in vogue include the manner in which, rather than establishing a closed oval or circle, the garland presents three irregular groups of roses, tulips, passion flowers, daffodils and peonies that leave the upper part open to the saint’s vision, which descends from the heavens. The soft, silky brushstrokes caress the surface to produce a strikingly attractive effect, with a fluid, translucent paint that eschews all rigidity. And this is further enhanced by a sense of overall lightness produced by the warm palette of contrasting pinks, reds and yellows separated, in places, by touches of white. The excellent illumination creates lighter and darker areas, thus establishing a skillfully expressed play of volumes that brings out the colors. The shadowy background serves to heighten the composition, as well as making it more believable.

The idea that Pérez painted the figures, whose appearance is perfectly consistent with works from the Court of Charles II (r. 1665-1700) in Madrid, is traditionally accepted, and probably correct, especially as Palomino’s reference to that artist in 1715 mentions that he was admired for his figures. The subject matter was quite common during the Counterreformation. Innumerable painters depicted Saint Anthony of Padua worshiping the Christ Child, who appeared to him surrounded by cherubs, and often at the center of a powerful light. This effect is softened here, possibly because Pérez sought to craft a harmonious and delicate painting without any striking excesses (Text drawn from Luna, J. J. : El bodegón español en el Prado. De Van der Hamen a Goya, Museo Nacional del Prado, 2008, p. 108).

Technical data

Inventory number
P003655
Author
Pérez, Bartolomé
Title
Garland of Flowers with Saint Anthony of Padua
Date
After 1689
Technique
Oil
Support
Canvas
Dimension
Height: 65 cm.; Width: 84 cm.
Provenance
Bequest of María Dionisia Vives y Zires, Duchess of Pastrana, 1889

Bibliography +

Pérez Sánchez, Alfonso E., Panorama de la pintura española desde los Reyes Católicos a, Servicio de Publicaciones del Instituto de Coopera, Madrid, 1980, pp. 96.

Pintura española de bodegones y floreros de 1600 a Goya /, Ministerio de Cultura, Dirección General de Bellas, Madrid, 1983, pp. 124.

Museo Nacional del Prado, Museo del Prado: catálogo de las pinturas, Museo del Prado, Madrid, 1985, pp. 505.

Pérez Sánchez, Alfonso E. (1935-2010)), La nature morte espagnole du XVII sièecle a Goya /, Office du Livre ; Vilo, Friburgo, 1987, pp. 143/ lám.144.

Ayala Mallory, Nina, Del Greco a Murillo: la pintura española del Siglo de Oro, 1, Alianza, Madrid, 1991, pp. 245 / lám. 221.

Pérez Sánchez, Alfonso E. (1935-2010)), Pintura Española de Bodegones y Floreros., The National Museum of Western Art, Tokio, 1992.

Mann, Richard G., El Greco y sus patronos: tres grandes proyectos, Akal, Torrejón De Ardoz, 1994, pp. 11.

Jordan, William B., El bodegón español de Velázquez a Goya, Ediciones el Viso, Madrid, 1995, pp. 140.

Museo Nacional del Prado, La belleza de lo real: floreros y bodegones españoles en el, (Colecciones del Museo del Prado), Museo del Prado, Madrid, 1995, pp. 104.

La Pintura Española, Electa, Milán, 1995, pp. 374 / lám. 454.

Jordan, William B., Spanish Still Life From Velazquez To Goya, National Gallery, Londres, 1995, pp. 140.

Museo Nacional del Prado, Museo del Prado: inventario general de pinturas, III, Museo del Prado, Espasa Calpe, Madrid, 1996.

Cherry, Peter, Arte y naturaleza: el bodegón español en el siglo de oro, Ediciones Doce Calles, Aranjuez (Madrid), 1999, pp. 308 / lám. 241.

Flores españolas del Siglo de Oro: la pintura de flores en la España del siglo XVII, Fundación Amigos del Museo del Prado, Madrid, 2002, pp. 137.

Luna, Juan J., El bodegón español en el Prado: de Van der Hamen a Goya, Museo Nacional del Prado, Madrid, 2008, pp. 108/109.

Other inventories +

Inv. Nuevas Adquisiciones (iniciado en 1856). Núm. 871.
Autor Sebastián Muñoz esc. de Madrid / 871. Un cuadro titulado 'San Antonio de Padua' / Alto 0,64 ancho 0,83

Exhibitions +

El bodegón español en el Prado
Alcoi
24.03.2011 - 26.06.2011

El bodegón español en el Prado
Murcia
11.03.2010 - 06.06.2010

El bodegón español en el Prado
Valladolid
12.10.2009 - 14.02.2010

El bodegón español en el Prado
25.06.2009 - 20.09.2009

El bodegón español en el Prado
31.03.2009 - 31.05.2009

El bodegón español en el Prado
24.09.2008 - 30.11.2008

Flores españolas del Siglo de Oro / Spanich Flower Painting in the Golden Age
Madrid
15.11.2002 - 02.02.2003

Spanish still life. Painting from Sánchez Cotán to Goya
Londres
22.02.1995 - 21.05.1995

Bodegones españoles
Nagoya
21.04.1992 - 31.05.1992

Bodegones españoles
Tokio
11.02.1992 - 12.04.1992

Update date: 06-05-2019 | Registry created on 28-04-2015

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