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Carnicero, Antonio

Salamanca (Spain), 1748 - Madrid (Spain), 1814

The son of Baroque sculptor Alejandro Carnicero, he is best known for genre scenes and series of engraved illustrations although he was also a very interesting miniaturist. After entering the Academy of San Fernando at the age of ten, he accompanied his brother, Isidro, to Rome, where he remained for six years, winning various art contests. Following his return to Spain he completed his training at San Fernando. In 1775 he began collaborating with José del Castillo on the preparation of cartoons for the Royal Tapestry Factory. Those tapestries were intended to decorate the quarters of the Princess of Asturias at the El Pardo Palace. His drawings include illustrations for editions of “Don Quixote” published by the Real Academia Española in 1780 and 1782. In 1790 he made preparatory drawings for engravings, including a large group on bullfighting. As chamber painter he was commissioned by Manuel Godoy to make the “Book of the Royal Riding School”, also known as “La Equitación”, a project he began in 1796 but was unable to finish before his death in 1799. He was one of the painters involved in the “Collection of Clothing”, a series on popular types in Spain for which he made seven drawings of figures from the Balearic Islands between 1778 and 1784. His scenes of figures dancing or strolling, as well as the flights of Montgolfier balloons, are rococo in style but his portraits are closer to classicism. This is clear in his “Portrait of Charles IV in Armor” (1789, Museo Municipal, Madrid) and the “Portrait of Manuel Godoy” (1801-1806, Academy of San Fernando, Madrid). Among the variety of styles and genres addressed by this artist, one work stands out for its exceptional character: “Allegory of Vigilance”, a moral allegory with dramatic contrasts of light and shadows that make it and its companion (private collection) pictorial forerunners to the aesthetic of the "sublime." Much the same occurs with his imposing “Eruption of Vesuvius” (private collection, Madrid), which was based on a composition by Volaire. During the 1780s Carnicero worked on a series of oils with views of roads and ports that Charles III had originally commissioned Mariano Ramón Sánchez to paint. One of the three “Views of the Albufera in Valencia” at the Museo del Prado is part of that group, and its meticulous brushstrokes realistically convey the place's topography. That same approach is also visible in Carnicero's two “Views of the Roman Theater at Sagunto” (1787, private collection, Madrid), which depict the ruins of that ancient Roman theater from different viewpoints. Both works reflect that period's sophisticated and enlightened cultural interest in the country's historical, archeological and geographic heritage (Reuter, A. in Enciclopedia del Museo Nacional del Prado, 2006, vol. II, pp. 641-642).

Artworks (25)

Maja in Finery
Oil on canvas, XVIII century
Carnicero Mancio, Antonio
The Immaculate Conception
Oil on canvas, Early Segunda mitad del siglo XVIII - XIX century
Carnicero Mancio, Antonio
Bullfighter
Oil on canvas, 1775 - 1800
Carnicero Mancio, Antonio
View of the Albufera in Valencia
Oil on canvas, Ca. 1783
Carnicero Mancio, Antonio
Ascent of a Montgolfier Balloon at Aranjuez
Oil on canvas, Ca. 1784
Carnicero Mancio, Antonio
Tomasa de Aliaga, Widow of Manuel Pablo Salcedo
Oil on canvas, Ca. 1787
Carnicero Mancio, Antonio
Approval of the Rule of Saint Francis by Pope Innocence III
Oil on canvas, Ca. 1789
Carnicero Mancio, Antonio
Saint Francis Cutting Clare of Assisi's Hair
Oil on canvas, 1787 - 1789
Carnicero Mancio, Antonio
The Virgin Appearing to Saint Francis
Oil on canvas, 1788 - 1789
Carnicero Mancio, Antonio

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