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JUAN FERNÁNDEZ DE LAREDO (Aranjuez (Madrid), c. 1632 - Madrid, 1690)."St. Jerome Hearing the Trumpet
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Beschreibung
JUAN FERNÁNDEZ DE LAREDO (Aranjuez (Madrid), c. 1632 - Madrid, 1690).
"St. Jerome Hearing the Trumpet of the Last Judgement", 1669
Oil on panel.
Signed and dated in the lower right corner.
Work reproduced in "Two painters from Madrid in the time of Charles II: Francisco de Lizona and Juan Fernández de Laredo", José Rogelio Buendía, plate III.
Measurements: 21.5 x 29 cm
The work in question is one of the few surviving works by Juan Fernández de Laredo, as his main occupation was the tempera painting of theatrical sets and Easter Week monuments, of which nothing has survived. In this work we can appreciate the direct contact Fernández de Laredo had with the theatre of his time. It offers us an image charged with mystical emotion, very typical of Spanish Counter-Reformation art. The composition is clear and concise, with the saint full-length in the foreground, highlighted by the direct, tenebrist lighting, against a background of dark tones in which a landscape can be discerned. As was also common at this time in the Spanish school, Saint Jerome is shown writing and meditating next to a human skull. Alongside the saint can be seen other iconographic attributes that define the figure of Saint Jerome, firstly, the lion that has accompanied him since he removed the thorn from the silver, and also the scriptures that define him as the first translator of the Bible. In this scene he is listening to the trumpet blast that is to summon the dead on Judgement Day.
Trained in the art of painting alongside Francisco Rizi, with whom he later collaborated and whom after his death he replaced in theatrical decorations, coming to be considered one of the great scenographers of his time, Juan Fernández de Laredo also produced paintings and hieroglyphs for funeral catafalques (Empress Claudia Margarita, 1676; Empress Eleanor, 1687; Queen Marie-Louise of Orleans, 1689). He carried out other minor decorative works at the Royal Sites. He was renowned for his skill with feigned architecture and perspective. On Rizi's death, Fernández de Laredo took charge of the stage machinery at the Royal Coliseum Buen Retiro, receiving the title of painter to the King in 1686, in gratitude for his 32 years of service to the Royal Household.
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JUAN FERNÁNDEZ DE LAREDO (Aranjuez (Madrid), c. 1632 - Madrid, 1690).
"St. Jerome Hearing the Trumpet of the Last Judgement", 1669
Oil on panel.
Signed and dated in the lower right corner.
Work reproduced in "Two painters from Madrid in the time of Charles II: Francisco de Lizona and Juan Fernández de Laredo", José Rogelio Buendía, plate III.
Measurements: 21.5 x 29 cm
The work in question is one of the few surviving works by Juan Fernández de Laredo, as his main occupation was the tempera painting of theatrical sets and Easter Week monuments, of which nothing has survived. In this work we can appreciate the direct contact Fernández de Laredo had with the theatre of his time. It offers us an image charged with mystical emotion, very typical of Spanish Counter-Reformation art. The composition is clear and concise, with the saint full-length in the foreground, highlighted by the direct, tenebrist lighting, against a background of dark tones in which a landscape can be discerned. As was also common at this time in the Spanish school, Saint Jerome is shown writing and meditating next to a human skull. Alongside the saint can be seen other iconographic attributes that define the figure of Saint Jerome, firstly, the lion that has accompanied him since he removed the thorn from the silver, and also the scriptures that define him as the first translator of the Bible. In this scene he is listening to the trumpet blast that is to summon the dead on Judgement Day.
Trained in the art of painting alongside Francisco Rizi, with whom he later collaborated and whom after his death he replaced in theatrical decorations, coming to be considered one of the great scenographers of his time, Juan Fernández de Laredo also produced paintings and hieroglyphs for funeral catafalques (Empress Claudia Margarita, 1676; Empress Eleanor, 1687; Queen Marie-Louise of Orleans, 1689). He carried out other minor decorative works at the Royal Sites. He was renowned for his skill with feigned architecture and perspective. On Rizi's death, Fernández de Laredo took charge of the stage machinery at the Royal Coliseum Buen Retiro, receiving the title of painter to the King in 1686, in gratitude for his 32 years of service to the Royal Household.
9th March - Old Masters
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Carrer de Cirilo Amorós 55, Valencia
Barcelona
08009
Spain
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