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Cerezo, Mateo

Burgos (Spain), 1637 - Madrid (Spain), 1666

Born to a modest painter of the same name, he appeared in Madrid around 1641, when he entered the workshop of Carreño de Miranda and became one of his most promising disciples. In fact, he probably collaborated with Carreño on some of the most ambitious commissions from around 1645.
An openly sensitive artist, Cerezo must have observed and reused everything he saw around him in Madrid, and while there is no documentation of his working for the court, his presence there is clearly reflected in the knowledge he gained of Van Dyck and Titian, whose influences are visible in certain female figures and in a light Venetian technique. His style evolved towards an ever lighter pallet, but his promise was cut short by premature death in 1666.
He is known to have been an accomplished and successful still-life painter, and according to Palomino, he was well known at that time for “small still lifes” painted “with such superior excellence that no one could surpass them, or possibly even equal them.” His only known surviving signed and dated still lifes (1664) are in Mexico City’s Museo de Bellas Artes, but their style is so personal that they allow others to be quite confidently attributed to him.

Artworks (10)

Ecce Homo
Oil on canvas, 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
Estigmatización de San Francisco
Oil on canvas, Ca. 1660
Cerezo, Mateo
Kitchen Still Life
Oil on canvas, Ca. 1664
Cerezo, Mateo
The Mystic Marriage of Saint Catherine
Oil on canvas, 1660
Cerezo, Mateo
The Judgement of a Soul
Oil on canvas, 1663 - 1664
Cerezo, Mateo
Visión de San Agustín
Oil on canvas, 1663
Cerezo, Mateo
Black chalk, Touches of white chalk on dark toned paper, Second third of the XVII century
Cerezo, Mateo

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