Pedro de Campolargo

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In this painting by Bernardo Germán de Llórente, there is the reproduction of a work that is signed by Pedro de Campolargo, The Louvre

Pedro de Campolargo (c. 1605-1675) was a Spanish painter and engraver, active during the Baroque period in Seville. His engravings are held in higher estimation than are his paintings.

Documentation shows Campolargo was in Seville in November 1640 when the parish of the Blessed Sacrament in the cathedral of Seville recorded the baptism of his son with his wife, Angela Adriaensens. Years later, in October 1651, he examined the "art of painter imaging sheet" with Sebastián de Llanos y Valdés. Campolargo, declared in an official document that he was "of the Flemish nation and age 46 or so."

In 1660 he received an apprentice, and from that date until 1663 among the academy members promoted the Seville Bartolomé Esteban Murillo drawing style. He documented in 1671 working on the Triumph elevation in the cathedral on the occasion of the celebrations for the canonization of San Fernando, charging for the prints 1800 reales.

He dictated his will on May 25, 1675 and must have died soon after, after making poor statements in June. He left a son of the same name that the documents also mention as a painter.


  • Bryan, Michael (1886). Walter Armstrong & Robert Edmund Graves, ed. Dictionary of Painters and Engravers, Biographical and Critical (Volume I.: A-K). York St. #4, Covent Garden, London; Original from Fogg Library, Digitized May 18, 2007: George Bell and Sons. pp. page 223. 
  • Cean Bermudez, John Augustine, Historical Dictionary of the most distinguished teachers of the fine arts in Spain, Madrid, 1800, vol. I, p. 206.
  • Kinkead, T. Duncan, "Flemish Painters from Seville Murillo" File Seville, No. 195 (Seville, 1982), p. 52.
  • Kinkead, T. Duncan, painters and gilders in Seville: 1650-1699. Documents, Bloomington, Indiana, 2006, ISBN 1-4259-7205-5, p. 81-84.
  • Garcia Quiles, Fernando, "Pedro de Campolargo, Flemish painter," Art Laboratory, Journal of the History of Art Department, University of Seville, No. 3 (1990), p. 265-270.