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 The Knight's Dream (mk14) oil painting


The Knight's Dream (mk14)
Oil on wood,152 x 217 cm Real Academia de San Fernando,Madrid
Painting ID::  22391 		PEREDA, Antonio de
The Knight's Dream (mk14)
Oil on wood,152 x 217 cm Real Academia de San Fernando,Madrid
   
   
     
PEREDA, Antonio de The Relief of Genoa oil painting


The Relief of Genoa
mk61 1634 Oil on canvas 290x370cm
Painting ID::  28137 		PEREDA, Antonio de
The Relief of Genoa
mk61 1634 Oil on canvas 290x370cm
   
   
     
PEREDA, Antonio de The Holy Trinity oil painting


The Holy Trinity
Oil on canvas, 143 x 230,5 cm
Painting ID::  32455 		PEREDA, Antonio de
The Holy Trinity
Oil on canvas, 143 x 230,5 cm
   
   
     
PEREDA, Antonio de Still Life with Walnuts oil painting


Still Life with Walnuts
mk84 1634 Spain
Painting ID::  32894 		PEREDA, Antonio de
Still Life with Walnuts
mk84 1634 Spain
   
   
     
PEREDA, Antonio de Still Life with Frunt oil painting


Still Life with Frunt
mk84 1650 Lisbon 75x143cm
Painting ID::  32917 		PEREDA, Antonio de
Still Life with Frunt
mk84 1650 Lisbon 75x143cm
   
   
     
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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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