All PANTOJA DE LA CRUZ, Juan 's Paintings
The Painting Names Are Sorted From A to Z

Choice ID Image  Paintings (From A to Z)       Details 
29311 Catalina Micarla of Savoy  Catalina Micarla of Savoy   mk65 Oil on canvas 27 1/2x19 1/2"
32877 Duke of Lerma  Duke of Lerma   mk84 1600-10 Toledo Fundacion Lerma, canvas
8444 Philip II kj  Philip II kj   Oil on canvas Monasterio de San Lorenzo, El Escorial
28124 Philip III  Philip III   mk61 Oio on canvas 204x122cm
8445 Portrait of a Woman dh  Portrait of a Woman dh   Oil on canvas, 58 x 42 cm Museo del Prado, Madrid
40998 Portrait of Don Diego de Villamayor  Portrait of Don Diego de Villamayor   mk159 1605 Oil on canvas 89x71cm
52677 Portrait of Felipe Manuel, Prince of Savoya  Portrait of Felipe Manuel, Prince of Savoya   c. 1604 Oil on canvas, 111,5 x 89,5 cm

Spanish Painter, 1553-1608 Spanish painter. He must have moved to Madrid when he was very young, receiving his training in the workshop of Alonso S?nchez Coello, painter to Philip II. On numerous occasions he declared himself to be a follower of S?nchez Coello, in whose workshop he was an oficial, and he probably collaborated to a considerable degree on many of his master's mature works. There are very few signed works by Pantoja from before the death of S?nchez Coello, although some anonymous paintings from the workshop are probably by him. In Madrid in 1587 Pantoja married a woman of some means, and by the following year, when S?nchez Coello died, he was an independent painter, aspiring to his master's position. Documentation exists from 1590 concerning portraits by Pantoja of members of the royal family including one of Don Felipe, the future Philip III (1593; Vienna, Ksthist. Mus.). On Philip's accession to the throne in 1598 Pantoja painted another portrait of him (Vienna, Ksthist. Mus.) and became the official portrait painter for the court and for the nobility of Madrid; there is detailed documentation for his work from this time. He painted clothing and jewels with precision, in minute detail and with a dry objectivity in the Flemish tradition. His treatment of faces, however, clearly reveals his study of Venetian portraiture, and in particular that of Titian, as well as sharp psychological penetration. In his portraits of royal children he maintained, albeit with a certain rigidity, the charm that S?nchez Coello in his paintings had given these infant figures tightly swathed in official robes

China Oil Painting Studio Team