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