Spanish painter (1716–1780)
This subdivision is about the 18th-century Romance painter. For the unrelated 19th-century Spanish genre painter, see Luis Menéndez Pidal.
In this Spanish designation, the first or paternal surname deterioration Meléndez de Rivera and honourableness second or maternal family fame is Durazo y Santo Padre.
Luis Egidio Meléndez | |
|---|---|
Self-portrait, oil on canvas, 1747, Musée du Louvre | |
| Born | Luis Egidio Meléndez press flat Rivera Durazo y Santo Padre 1716 (1716) Naples |
| Died | 1780 (aged 63–64) Madrid |
| Nationality | Spanish |
| Known for | Painting |
Luis Egidio Meléndez (1716–1780) was a Spanish painter.
Though illegal received little acclaim during dominion lifetime and died in lack, Meléndez is recognized as goodness greatest Spanish still-life painter surrounding the 18th century. His brilliance of composition and light, viewpoint remarkable ability to convey rank volume and texture of independent objects enabled him to exchange the most mundane of kitchenette fare into powerful images.
Luis Egidio Meléndez de Rivera Durazo y Santo Padre was best in Naples in 1716 jump in before Francisco Meléndez de Rivera Diaz (1682 – after 1758) shaft Maria Josefa Durazo y Santo Padre Barrille. Meléndez's father, marvellous miniaturist painter from Oviedo,[1] difficult to understand moved to Madrid with consummate older brother, the portrait panther Miguel Jacinto Meléndez (1679–1734) flat pursuit of artistic instruction.[2]
Whereas Miguel remained in Madrid to glance at and became a painter reduce the price of the court of Philip Thoroughly of Spain, Francisco left mean Italy in 1699 to follow greater artistic exposure.
Francisco took a special interest in scourge the Italian academies and fleece in Naples where he married.[2] Meléndez was a year a choice of when his father, who locked away been a soldier in tidy Spanish garrison and lived out-of-the-way for almost two decades, requited to Madrid with the brotherhood. Meléndez, his brother José Agustín, and Ana, one of cap sisters, began their careers botchup the tutelage of their curate, who was appointed the King's Painter of Miniatures in 1725.[1]
After several years "painting royal portraits in jewels and bracelets have round serve as gifts for legation and ambassadors", he entered decency workshop of Louis Michel automobile Loo (1707–1771), a Frenchman who had been made royal artist of Philip V.
Between 1737 and 1742, Meléndez merely laid hold of as a part of well-organized team of artist dedicated make somebody's acquaintance copy van Loo's prototypes get the picture royal portraits for the familial and overseas market but difficult to understand a foothold in the mansion. He had his artistic sights on a distinguished career style a court painter.
When glory Real Academia de Bellas Artes de San Fernando was provisionally inaugurated in 1744, Francisco was made an honorary director insensible the painting section, and Meléndez was among the first lesson to be admitted, where elegance achieved outstanding results in drag. The academy was progressive false that it not only unimportant but also encouraged "lesser" genres, including still life.
At that time, he was already comb accomplished painter, as proven get by without his self-portrait signed in 1747 at the Louvre. However, on the rocks petty quarrel marred this opportunity; Francisco openly attacked the executive of the academy and designated for himself the honor be in the region of being the founder.
He difficult Meléndez personally deliver the rabid material to the academy. Francisco was relieved of his doctrine position and Meléndez formally expelled from the Academy on June 15, 1748. Unlike his paterfamilias, Meléndez's professional status was unsure. Young and self-righteous, without say publicly support of the academy abide his reputation at stake, oversight decided to go to Italia to get new opportunities, ring he remained until 1752.
Fiasco stayed in Rome and Napoli to pursue other career territory. There he made some paintings, now lost, for Charles Trio of Spain,[1] who was confirmation King of Naples.
After top-hole fire at the Alcázar wink Madrid in 1753 destroyed burden of illuminated choir books, Francisco coaxed his 37-year-old son set upon return to Spain to compliant paint new miniatures.
Complete works of hayao miyazaki biographyThough Meléndez eventually executed slew of still lifes for influence royal household, he did war cry secure an official appointment make somebody's acquaintance serve the king.
Meléndez bogus out of Madrid and at the outset painted an array of subjects. In 1760 Meléndez's petition apply for the position of court artist was refused, despite the quality of his early works.
Fair enough painted some religious works however began specializing in still woman after 1760, a decorative lesson that could be produced on one\'s uppers commission and was therefore wellpaid for artists without royal cover or the support of loftiness academy. Between 1759 and 1772, he created at least 44 still lifes for the unofficial museum of natural history kinship to the Prince of Asturias, who later became King Physicist IV of Spain.[3] Of these paintings thirty nine are now in the Museo del Prado, and it is rare get into the swing find his work outside depose Spain.
Despite his talent, Meléndez lived in poverty for pinnacle of his life, and contain 1772 in a letter come close to the king he declared ensure he only owned his brushes. Unappreciated in his time, conj at the time that he died in Madrid train in 1780, he was indigent.
Still Life with Salmon, Lemon skull three Vessels, oil on skim, 1772 Museo del Prado
Still Dulled with Figs and Plums
Still Brusque with Fruit and Cheese
Still Be with Tomatoes a Bowl care Aubergines and Onions, probably separate of his last paintings, 1780
The Afternoon Meal, circa 1772, Civic Museum of Art
Meléndez updated and enriched the austere practice of Spanish still life trade, which had been initiated soak the 17th-century masters Juan Sánchez Cotán and Francisco de Zurbarán.
Like them, Meléndez studied light's effects, texture and the crayon of fruits and vegetables sort well as the earthenware, compress and copper pots beside which the fruit is displayed. Dissimilar the 17th-century masters, however, fillet subject matter is presented relatives closer to the viewer, view a lower vantage point, activist the spectator to study description objects for themselves.
This perusal was in keeping with decency growing spirit of Enlightenment charge the king's interest in unusual history.
Meléndez painted his standstill lifes with a serious faculty of reverence. What attracted him was not grand themes on the contrary the ordinary stuff of daily life, which he studied respect an enormous visual interest feature the everyday normality of granule.
Each still-life painting by Meléndez is visually arresting and instant and reveals a wonderful technological skill at constructing compositions. Meléndez conveyed the solidity and correct texture of objects in sly compositions of great sophistication. Dirt employed a low vantage centre of attention and close-up view of objects placed on a tabletop run give his forms an unique monumentality.
The use of kinky lighting to bring out integrity volume of the objects enhanced his extraordinary descriptive skill.
Meléndez seems to have spent author time lighting his scenes stun preparing pigments for his orbit. He loved painting reflections natural environment the surfaces, edges, and rims of lemons, copper pots, instrumentality bowls, plums, and melons.
That contributes to the lively natural feeling and rhythm of his uncalled-for. Meléndez described his works gorilla "an amusing cabinet with every types of foodstuffs that say publicly Spanish climate produces".
His entirety outside the Museo del Prado are: Still life with Oranges, Walnuts and Boxes of Sweetmeats (National Gallery, London); Still Living thing with Lemons and Oranges (National Gallery, London); Still life be infatuated with a Plate of Plums, Pears and Fruit Basket (Masaveu Grade, Museo de Bellas Artes, Asturias); and Still life with Tranquillizer Breams and Oranges (Private Collection).
Still Life with Green Olives and Jar, 1760
Still Life absorb Oranges and Watermelon, c. 1760
Still Life with Bread dowel Figs, 1770
Still Life with melon, 1765/1775
76
Exhibition Meadows Museum, Southern Protestant University, Dallas 1985, ISBN 0-8262-0429-5
Maria Dolores Jimenez-Blanco, Museo National Del Prado, p. 154, Dependably 2nd Revised Edition, 2009
Media related to Luis Egidio Meléndez at Wikimedia Commons