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Increasingly valued for the splendid series of works he made during the second and very nearly the third quarter of Spain’s Siglo de Oro, Antonio Ponce was from the generation after Van der Hamen. In fact, he was a relative of the elder painter, as well as his apprentice, which further reinforced his dependence.Like his peers, he responded to the demand for works pertaining to specific subgenres o
Several aspects of this undated work indicate it was painted during the transition between the first and second halves of the 17th century. It clearly draws on Van der Hamen but some smaller details appear to foreshadow the baroque tendencies explored by Pereda in that century’s sixth decade, when Philip IV’s (1621-1665) reign was beginning to decline. And as Pérez Sánchez pointed ou
This garland, closed and tight, directly recalls Van der Hamen’s models, both in its arrangement and the detailing of the flowers in it. Van der Hamen seems to have been the pioneer of this genre of garlands in Spain, since his first known work was Flower garland with a landscape from 1628. When Ponce signed this large canvas in 1654, Juan de Arellano had already created another type of garland th
