Juan de Pareja

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Detail of Velázquez's Portrait of Juan de Pareja.
Portrait of the Architect José Ratés Dalmau, oil on canvas (116 x 97 cm), Museo de Bellas Artes de Valencia

Juan de Pareja (1606–1670)[1] was a Spanish painter, born in Antequera, near Málaga, Spain. He is primarily known as a member of the household and workshop of painter Diego Velázquez. His 1661 work The Calling of St. Matthew (sometimes also referred to as The Vocation of St. Matthew) is currently on display at the Museo del Prado in Madrid, Spain. De Pareja became Velazquez's assistant sometime after the master returned to Madrid from his first trip to Italy in January 1631. After the death of Velazquez he entered the service of Juan del Mazo.[2]

He was a slave and afterwards a freedman, and was described as a "Morisco", being "of mixed parentage and a strange color".[3] The usage of the word "morisco" at the time carried two possible meanings. It was used to refer to both descendants of Muslims who remained in Spain after the reconquest, and to refer to the offspring of a Spaniard and a mulatto. De Pareja was given his freedom in Rome by Velázquez during a trip to Italy in 1650. Around the same time Velázquez painted Pareja's portrait, now in New York.[4] The document of his manumission exists.[5]

Works[edit]

  • Portrait of Agustín Moreto (1648-53), oil on canvas, Lazaro Galdiano Foundation, Madrid
  • Portrait of a Monk (1651)
  • The Calling of Saint Matthew (1661), oil on canvas, 225 x 325 cm, Museo del Prado
  • Saints John the Evangelist and Orontius, Augusting Collection, Madrid
  • The Lady of Guadalupe, Augustine Collection, Madrid
  • Portrait of the Architect José Ratés Dalmau, oil on canvas (116 x 97 cm.), Museo de Bellas Artes de Valencia.

Works after Pareja[edit]

See also[edit]

Notes[edit]

  1. ^ William Stirling Maxwell (1848). Annals of the artists of Spain, Volume 2. J. Ollivier. 
  2. ^ The Crisis. The Crisis Publishing Company, Inc. February 1980. p. 50. ISSN 0011-1422. 
  3. ^ Palomino, Antonio (1988). El museo pictórico y escala óptica III. El parnaso español pintoresco laureado. Madrid : Aguilar S.A. de Ediciones.
  4. ^ See Carmen Fracchia's article in The Slave in European Art: From Renaissance Trophy to Abolitionist Emblem, ed Elizabeth McGrath and Jean Michel Massing, London (The Warburg Institute) and Turin 2012.
  5. ^ The document which was discovered by Jennifer Montagu is in the Archivio di Stato in Rome. See Burlington Magazine, volume 125,1983,pages 683-4.

Sources[edit]

External links[edit]