Who is Francisco de Palacios?

By Gwylym Owen

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Francisco de Palacios, also Francisco Palacios, (1623-January 1652), was a Spanish Baroque painter.

De Palacios was initially known through deserted two small still lifes, acquired in Madrid in late seventeenth century by Count Ferdinand Harrach Buenaventura, published by August L. Mayer in 1922, and two paintings of San Onofre and San Francisco de Asis in the convent Calatravas Moralzarzal (Madrid). When the paintings were first seen, Buenaventura proverb the upset of Antonio Ponz, and thought maybe the author was El Greco, so he was amazed when he certified the signing of Palacios. Palacios was appropriately primarily understood to be a still life painter until cutting edge research revealed he had curtains portraits and landscapes as well.

In January 1646 he married Josefa Berges, daughter of painter and paint merchant Francisco Berges, stating in the covenant they were both older than twenty. The couple had two children, and in December 1651, being seriously ill, gave testament, ordering six hundred Masses with further demands, including one for the canonization of St. Maria de la Cabeza, indicating a good financial welcome of living. He died in Madrid in January 1652, having unquestionable his residence on the street of Alcala. Both in the will as at the auction of the house of his father, who died in 1672, there are glamorous news about the paintings of various palaces, covering anything genres. Along past some unmemorable paintings for Nicholas Jacobs, are cited in the will a portrait of Doña Teresa, wife of Joseph Ferriol attributed of the secretariat of the Indies, and landscape in any number you did to Juan Pastrana, of those still was owed determined amounts. In addition, to Jerome Gonzalez Bricianos, cashier Manuel Lopez de Salcedo made a large characterize of the Virgin and St. Joseph and the Infant Jesus and Eternal Glory to the Father. Also cited by Palacios were three “Orchard stained by natural”, another yet life of “a table afterward some peaches and olives and clay” , and “a landscape and a Crowning later than thorns”.

The association with Diego Velázquez who he is believed to have been a disciple could be indirectly declared by a interested clause in the will by which he said he had given “Don Diego de Silva a beautify of sword and dagger which is what this update brings”. Based on style characteristics, Palacios has recently approved the well-known painting of The Knight’s Dream, traditionally assigned to Antonio de Pereda. Lately Azanza Javier Lopez, an art historian for the University of Navarra, greatly expanded the number of known works of the painter. The delicate treatment of the hands, so different from that usually found in the deed of Pereda, could be as a consequence another ruckus in favor of the additional painting attribution.

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