Antonio de Puga: 13 cool facts

Antonio de Puga (1602 – 1648), was a Spanish Baroque painter.

Antonio de Puga was born in Ourense, son of a tailor of the thesame name and Ynés Rodriguez. He was the first notable performer from Galicia, and through the research of Maria Luisa Caturla, his main biographer and scholar, an accurate dating of some aspects of his dynamism has been possible.

There was no news of his animatronics after his birth archives until 1635, where a document avowed that he worked “By order and in house Painter Eugenio Caxés was his late majesty in quadros of good retirement and gave me quenta than Rs Ducientos trabaxe it.” In the frill of the Hall of Realms in the Buen Retiro Palace Eugenio Cajés corresponded to two of the paintings of battles: The Cadereita and his army, now lost, and the Recovery of Puerto Rico by D. Juan de Haro, Museo del Prado, who, dying in December 1634, left unfinished, supplementing Luis Fernández. It has been discussed how much might take de Puga’s do something was included in these tables, there is some consensus in attributing the landscape.

Some historians have tried to fill the gap until 1635 assuming documentary would ecclesiastical studies back turning to painting, but what of that will be seen in 1634 is that Puga was already a trained painter, as he had done a portrait of the Duke of Medina de las Torres Luis Ramirez de Haro and his participation had fixed some importance in the enhancement of the palace. Of that will be seen, too, which was established in Madrid working occasionally as an partner in crime to Caxés, who may be his teacher. In 1636 he painted St. Jerome (Bowes Museum in Barnard Castle), very thesame to unorthodox of Francisco Collantes.

In 1641 the ambassador of Modena in Madrid, Camilo Guidi, in a letter to his master praised de Puga subsequently he completed landscapes in the same way as equestrian portraits. Also it was mentioned a significant number of portraits were completed, usually smudges that relief as models for the various copies made at the workshop. With the portraits of Philip IV of Spain (and horse heads) and new members of the royal family, are cited portraits of various members of the nobility (counts of Lemos, Duke of Aricoste) for those he worked in imitation of some regularity. Thus in 1643 a combat for unspecified paintings and flag he had made for the Marquis of Viana, governor of Oran, who yet had a debt with him at the era of issuing the second will. Of this document, written in 1648, on the eve of his death, and the subsequent auction of its assets had gathered shows that a significant number of works by further artists, and a respectable library of beyond a hundred volumes, which along following the normal works of devotion and the office’s own poetic works are comedies that seem to indicate a high level of culture. Mention in the paper is made of three officers who worked for him, pointing to the existence of a workshop once a large volume of work.