Old Woman Seated
A fish seller and another figure in an interior
Old Man Teaching a Boy to Read
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Old Woman Seated
Antonio de Puga or Antonio Puga (1602-1648), was a Spanish Baroque painter.
Antonio
de Puga was born in Ourense, son of a tailor of the same name and Ynés
Rodriguez. He was the first notable artist from Galicia, and through
the research of Maria Luisa Caturla, his main biographer and scholar,
an accurate dating of some aspects of his life has been possible.
There was no news of his life after his brith records until 1635, where a document declared 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 decoration 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 assume de Puga's work 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 before 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 given some importance in the
decoration of the palace. Of that will be seen, too, which was
established in Madrid working occasionally as an assistant to Caxés,
who may be his teacher. In 1636 he painted St. Jerome (Bowes Museum in
Barnard Castle), very similar to another of Francisco Collantes.
In
1641 the ambassador of Modena in Madrid, Camilo Guidi, in a letter to
his master praised de Puga when he completed landscapes with equestrian
portraits. Also it was mentioned a significant number of portraits were
completed, usually smudges that serve as models for the various copies
made at the workshop. With the portraits of Philip IV of Spain (and
horse heads) and other members of the royal family, are cited portraits
of various members of the nobility (counts of Lemos, Duke of Aricoste)
for those he worked with some regularity. Thus in 1643 a charge for
unspecified paintings and flag he had made for the Marquis of Viana,
governor of Oran, who still had a debt with him at the time 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 other artists, and a respectable
library of more than a hundred volumes, which along with the usual
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 with a large volume of work.
References
Angulo Iñiguez, Diego, and Pérez Sánchez, Alfonso E. Painting Madrid
the second third of the seventeenth century, 1983, Madrid: Diego
Velazquez Institute, CSIC, ISBN 84-00-05635-3
Camon Aznar, José, The seventeenth-century Spanish painting, Volume XXV
of "Summa Artis", Madrid, 1977, Oxford University Press.
Caturla, Maria Luisa, Antonio de Puga, Galician painter, 1982. A
Coruña, Barrie de la Maza Foundation, ISBN 84-85728-12-2
Cean Bermudez, John Augustine, Historical Dictionary of the most
distinguished teachers of the Fine Arts in Spain, Madrid, 1800.
Mayer, August L., History of Spanish Painting, 1947, 3rd ed. Madrid, Oxford University Press.
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