All the oil paintings of PEREDA, Antonio de

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ID	Image	Painting(From A to Z)	Details
8489		Allegory ag	c. 1654 Oil on canvas, 139,5 x 174 cm Kunsthistorisches Museum, Vienna
39722		Allegory of vanity	mk150 c.1640 Canvas 139.5x174cm
8491		St Anthony of Padua with Christ Child (detail) wsg	Oil on canvas Museum of Fine Arts, Budapest
8490		St Anthony of Padua with Christ Child af	Oil on canvas, 177 x 205 cm Museum of Fine Arts, Budapest
8495		St Dominic	Oil on canvas Museo Cerralbo, Madrid
8492		St Jerome G	1643 Oil on canvas, 105 x 84 cm Museo del Prado, Madrid
8493		Stiil-life with a Pendulum sg	1652 Oil on canvas, 78 x 91 cm Pushkin Museum, Moscow
41017		Still life	mk159 1652 Oil on canvas 80x94cm
32917		Still Life with Frunt	mk84 1650 Lisbon 75x143cm
32894		Still Life with Walnuts	mk84 1634 Spain
32455		The Holy Trinity	Oil on canvas, 143 x 230,5 cm
8496		The Holy Trinity ga	Oil on canvas, 143 x 230,5 cm Museum of Fine Arts, Budapest
42015		The Immaculate one Concepcion Toward the middle of the 17th century	mk166 Painting al I wave Museum of Fine Arts Lyon
8488		The Knight's Dream (detail) af	Oil on wood Real Academia de San Fernando, Madrid
22391		The Knight's Dream (mk14)	Oil on wood,152 x 217 cm Real Academia de San Fernando,Madrid
8487		The Knight's Dream af	Oil on wood, 152 x 217 cm Real Academia de San Fernando, Madrid
28137		The Relief of Genoa	mk61 1634 Oil on canvas 290x370cm
8494		The Relief of Genoa af	1634-35 Oil on canvas, 290 x 370 cm Museo del Prado, Madrid

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