Oil On Canvas, Real Flavor of Old Masters

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1633-1673 was a Spanish draftsman and painter. Born in Almaden, he studied under Juan Carreno de Miranda, court painter to Charles II of Spain; Cabezalero lived at Carreno de Miranda's house until 1666. Both he and Carreno were influenced by Van Dyck. Few works by Cabezalero have survived. His surviving works include his St Jerome (1666, Meadows Museum, Southern Methodist University, Dallas) and the Assumption of the Virgin (ca. 1670; Madrid, Prado). The latter had been formerly attributed to Mateo Cerezo, also a pupil of Carreno de Miranda. Antonio Palomino praises Cabezalero's modest, studious nature and laments that he died young.

5 Related Artists to Juan Martin Cabezalero::.
| Daniel van Heil | Gustav Adolph Henning | Master Theodoric | Norbert Goeneutte | Angiolo Tommasi |


Juan Martin Cabezalero Assumption ofthe Virgin oil painting artist


Juan Martin Cabezalero Assumption ofthe Virgin oil painting artist

Assumption ofthe Virgin
Painting ID::  32940
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mk84 ca.165-70 Madrid,Prado,canvas 237x169cm

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Juan Martin Cabezalero Portrait of Queen Mariana de Austria oil painting artist


Juan Martin Cabezalero Portrait of Queen Mariana de Austria oil painting artist

Portrait of Queen Mariana de Austria
Painting ID::  52624
new19/Juan Martin Cabezalero-785338.jpg
 
1678 Oil on canvas, 206 x 123,5 cm

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Juan Martin Cabezalero St James the Great in the Battle of Clavijo oil painting artist


Juan Martin Cabezalero St James the Great in the Battle of Clavijo oil painting artist

St James the Great in the Battle of Clavijo
Painting ID::  52626
new19/Juan Martin Cabezalero-899343.jpg
 
1660 Oil on canvas, 231 x 168 cm

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Juan Martin Cabezalero Assumption of the Virgin oil painting artist


Juan Martin Cabezalero Assumption of the Virgin oil painting artist

Assumption of the Virgin
Painting ID::  62360
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237 x 169 cm Museo del Prado, Madrid Despite his training with Juan Carre?o de Miranda, Cabezalero had a distinct style from his master. His figures are drawn with crisp outlines and carefully modelled with firm, controlled brushstrokes, qualities that are different from the broken, impasto technique applied by Carre?o. These qualities are evident in one of his few surviving works, the Assumption of the Virgin, probably executed in the late 1660s and more indebted to Italian than Flemish sources

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