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Penitent Magdalene
Oil on canvas. Second half of the XVII century
Cerezo, Mateo
Penitent Magdalene
Oil on canvas. Second half of the XVII century
Cerezo, Mateo

Immaculate Conception
Oil on canvas. Ca. 1660
Cerezo, Mateo
Immaculate Conception
Oil on canvas. Ca. 1660
Cerezo, Mateo

The Virgin’s facial type, the confident drawing and the forceful rendering of the spatial planes originally led this work to be attributed to Claudio Coello. But in 1986 more precise knowledge of the artistic personality of Mateo Cerezo led Rogelio Buendía and Ismael Gutiérrez Pastor to name him as its author. This attribution has been maintained and it rests on a comparison to signe

Kitchen Still Life
Oil on canvas. Ca. 1664
Cerezo, Mateo
Kitchen Still Life
Oil on canvas. Ca. 1664
Cerezo, Mateo

A profusion of cooking utensils and hearty meats -game birds fresh from the hunt and not yet dressed, a recently-killed lamb, a calf’s head, and other cuts- are laid out on a work surface, as if the painter had found them thus in a kitchen, awaiting the preparation of a meal. The apparent disorderly informality of the painting’s composition gives it an air of immediacy and lifelikeness, but is in

The Mystic Marriage of Saint Catherine
Oil on canvas. 1660
Cerezo, Mateo
The Mystic Marriage of Saint Catherine
Oil on canvas. 1660
Cerezo, Mateo

The wheel by the figure’s feet, her palm of martyrdom and crown identify her as Saint Catherine who received the wedding ring from the Infant Christ in reward for her virtue. The basket in the foreground demonstrates Cerezo’s outstanding abilities as a still-life painter.

The Judgement of a Soul
Oil on canvas. 1663 - 1664
Cerezo, Mateo
The Judgement of a Soul
Oil on canvas. 1663 - 1664
Cerezo, Mateo

The judgement of an individual soul is a subject rooted in popular religious theater. The oldest known depictions date from the 15th century and show an angel and a devil arguing over the possession of the soul in question as Christ and the Virgin look on. Here, however, the painter takes a different approach to what may be a concrete event. Five figures are arranged on two parallel but overlappin

Mary Magdalen at the Feet of Christ
Pencil ground, Grey-brown wash on yellow laid paper. Mid-XVIIcentury
Cerezo, Mateo
Mary Magdalen at the Feet of Christ
Pencil ground, Grey-brown wash on yellow laid paper. Mid-XVIIcentury
Cerezo, Mateo

Mary Magdalen kneels on the floor and kisses the feet of Christ, who is seated at the head of the table with two other diners gesturing in astonishment. An architectural background and drapery frame the composition on the left. As Mayer has already pointed out, although the subject represents the event of the Magdalen anointing the feet of Christ during the supper at Simon’s house, Sánchez

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