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Camilo, Francisco

Madrid (Spain), 1615 - Madrid (Spain), 1673

His father, Domenico Camilo, was a Florentine painter who participated in the decoration of the monastery at El Escorial. Following Domenico's death, his widow married Pedro de las Cuevas, a painter from Madrid who then taught young Francisco the art of painting. In court circles, he made paintings of the kings of Spain to decorate the Hall of Comedies at the Alcázar in Madrid, and beginning in 1641 he took part in the frescoes on Ovid's Fables for the same palace's Western Gallery. This destroyed work, which he made with Julio César Semini, is remembered primarily for its impression on Philip IV, who criticized the religious appearance of the group's composition. In Madrid he worked for various convents, including San Felipe el Real, for which he made Saint Joachim and the Virgin as a child and Saint Joseph with the Sleeping Christ Child, both at the museum in Huesca. He was responsible for such popular works as the depiction of The Virgin of Bethlehem at the church of San Juan de Dios in the convent of Antón Martín, Madrid, an enormously venerated and copied work. He also took part in the creation of a series of anti-Jewish paintings of the desecration of the Crucifix for the Capuchin monastery of La Paciencia de Cristo in Madrid, which is a fine example of his compositional mastery of this sort of indoor scenes. Within the province of Madrid he made works for the El Paular Charterhouse, which are not at the Museo del Prado, for the Capuchin Convent at El Pardo and for the village church of Santorcaz. His artistic activity extended beyond Madrid, including commissions for various institutions in the city of Salamanca, such as the professed house of the Society of Jesus and the convent church of lesser clergymen (Ciudad Rodrigo, Salamanca). His production for cities such as Toledo and Segovia was considerable, including works from 1662 for the sanctuary of La Fuencisla in the latter city, which were much appreciated in his time. His oeuvre was abundant, due in part to his precocity, although not all his pieces were of the same quality. Stylistically he reflects Italian art, and he tended to create compositions with complicated groups of figures in large spaces favored by the use of large formats. His color schemes are characterized by a range of blues that contrast with the tenebrist concerns characteristic of his period. And his compositions focus on the agitated movement of his scenes, which create a passionately baroque sense. He collaborated with renowned sculptors, polychroming statues such as Manuel Pereira's Christ of Forgiveness for the former convent of El Rosario in Madrid. The large number of paintings by Francisco Camilo in the Museo del Prado offers an idea of how extensive his production actually was. These works include The Holy Family or Trinity on Earth, whose iconography would enjoy considerable success in the immediately following period. Equally worthy of mention among the Museo del Prado's work are his paintings for the convent of the Barefoot Carmelites in Madrid, with scenes such as The Martyrdom of Saint Bartholomew and Saint Jerome Whipped by Angels.

Artworks (17)

Santo Tomás de Villanueva
Oil on canvas, XVII century
Camilo, Francisco
The Martyrdom of Saint Bartholomew
Oil on canvas, XVII century
Camilo, Francisco
The Holy Family or Trinity on Earth
Oil on canvas, XVII century
Camilo, Francisco
Desecration of the Crucifix or Christ of the Insults
Oil on canvas, XVII century
Camilo, Francisco
El Beato Nicolás Albergati, obispo de Bolonia
Oil on canvas, XVII century
Camilo, Francisco
San Joaquín conduciendo a la Virgen niña de la mano
Oil on canvas, Second third of the XVII century
Camilo, Francisco
Cristo yacente
Oil on canvas, Second third of the XVII century
Camilo, Francisco
The Death of Saint Paul the Hermit
Oil on canvas, Ca. 1649
Camilo, Francisco
Cristo yacente
Oil on canvas, 1647
Camilo, Francisco

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