PEREDA, Antonio de
Spanish Baroque Era Painter, ca.1611-1678 Spanish painter. He was the son of a minor painter of the same name (d 1622) and, after his father died, about 1627 he moved to Madrid with his mother. There he entered the studio of Pedro de las Cuevas, and his fellow pupils included such artists as Juan Carreeo de Miranda, Francisco Camilo, Jusepe Leonardo and Antonio Arias Fernendez. He must also have known and studied the work of many masters esteemed at court, particularly Vicente Carducho, echoes of whose work can be found in the former's early paintings. Pereda received protection early on from a member of the Royal Council, Francisco de Tejada, and later from Giovanni Battista Crescenzi, a painter and patron who was in Spain from 1617. Pereda probably completed his training through contact with Crescenzi's collection and eventually he lived in Crescenzi's house. In 1634 Pereda executed Aid to Genoa (Madrid, Prado) for the decoration of the Salen de Reinos in the Casen Buen Retiro, Madrid, a project involving all the leading artists of Madrid, including Carducho, Velezquez, Zurbaren and Jose Leonardo. The death of Crescenzi in 1635 deprived Pereda of further court commissions and seems to have stopped him painting any further secular works other than still-lifes. Also in 1635 he began a well-documented career as a religious painter, producing large altar paintings and many other medium-sized works, probably for private worship. Outstanding among these is the Immaculate Conception (1637) in the Convento de los Felipenses, Alcale de Henares (Madrid). The important allegorical painting Vanitas
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PEREDA, Antonio de St Jerome G oil painting


St Jerome G
1643 Oil on canvas, 105 x 84 cm Museo del Prado, Madrid
Painting ID::  8492 		PEREDA, Antonio de
St Jerome G
1643 Oil on canvas, 105 x 84 cm Museo del Prado, Madrid
   
   
     
PEREDA, Antonio de Stiil-life with a Pendulum sg oil painting


Stiil-life with a Pendulum sg
1652 Oil on canvas, 78 x 91 cm Pushkin Museum, Moscow
Painting ID::  8493 		PEREDA, Antonio de
Stiil-life with a Pendulum sg
1652 Oil on canvas, 78 x 91 cm Pushkin Museum, Moscow
   
   
     
PEREDA, Antonio de The Relief of Genoa af oil painting


The Relief of Genoa af
1634-35 Oil on canvas, 290 x 370 cm Museo del Prado, Madrid
Painting ID::  8494 		PEREDA, Antonio de
The Relief of Genoa af
1634-35 Oil on canvas, 290 x 370 cm Museo del Prado, Madrid
   
   
     
PEREDA, Antonio de St Dominic oil painting


St Dominic
Oil on canvas Museo Cerralbo, Madrid
Painting ID::  8495 		PEREDA, Antonio de
St Dominic
Oil on canvas Museo Cerralbo, Madrid
   
   
     
PEREDA, Antonio de The Holy Trinity ga oil painting


The Holy Trinity ga
Oil on canvas, 143 x 230,5 cm Museum of Fine Arts, Budapest
Painting ID::  8496 		PEREDA, Antonio de
The Holy Trinity ga
Oil on canvas, 143 x 230,5 cm Museum of Fine Arts, Budapest
   
   
     
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     PEREDA, Antonio de
     Spanish Baroque Era Painter, ca.1611-1678 Spanish painter. He was the son of a minor painter of the same name (d 1622) and, after his father died, about 1627 he moved to Madrid with his mother. There he entered the studio of Pedro de las Cuevas, and his fellow pupils included such artists as Juan Carreeo de Miranda, Francisco Camilo, Jusepe Leonardo and Antonio Arias Fernendez. He must also have known and studied the work of many masters esteemed at court, particularly Vicente Carducho, echoes of whose work can be found in the former's early paintings. Pereda received protection early on from a member of the Royal Council, Francisco de Tejada, and later from Giovanni Battista Crescenzi, a painter and patron who was in Spain from 1617. Pereda probably completed his training through contact with Crescenzi's collection and eventually he lived in Crescenzi's house. In 1634 Pereda executed Aid to Genoa (Madrid, Prado) for the decoration of the Salen de Reinos in the Casen Buen Retiro, Madrid, a project involving all the leading artists of Madrid, including Carducho, Velezquez, Zurbaren and Jose Leonardo. The death of Crescenzi in 1635 deprived Pereda of further court commissions and seems to have stopped him painting any further secular works other than still-lifes. Also in 1635 he began a well-documented career as a religious painter, producing large altar paintings and many other medium-sized works, probably for private worship. Outstanding among these is the Immaculate Conception (1637) in the Convento de los Felipenses, Alcale de Henares (Madrid). The important allegorical painting Vanitas

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