In 1674 Carnero made the paintings for an altarpiece that was being executed by the assembler Manuel de Velasco in the school of San Pedro y San Pablo, this works are early in their production and to this stage belongs Sueño de San José , currently located in the Museo Nacional del Virreinato de Tepotzotlán, the portraits of Palafox (lost), and another one from Mexico’s archbishop, Fray Marcos Ramírez de Prado, harbored in the Metropolitan Cathedral, as well as a Guadalupe’s Virgin saved in the sacristy of the parish of San Agustín Tlaxco in Tlaxcala. In 1684 Carnero left Mexico City and went to Puebla, where he figures in the list of the most outstanding artists in town. Among the works he made in said city are worth mentioning nine big paintings that decorate the nave, the cruise, and the headboard of the famous Rosario’s chapel in Santo Domingo’s.
Also known as the “Blue Painter” due to his untainted technique implementing blue colors in his paintings. Echave Ibía performed his artistic training in his father’s workshop, therefore his dad’s marked influence. Some analice his pictoric work as a continuation of Echave Orio’s, however, “the young one” gave to his pieces personal features. An interesting aspect of his work is his labor as a landscaper where stands out his extraordinary usage of blue. His paintings expose a connection between the mannerist tradition and the new baroque aesthetic. Some of his works are El Martirio de San Apropiano, La Porciúncula (an altarpiece in Tlatelolco), and La Adoración de los Reyes al Divino Infante (an altarpiece located in the jesuits church of Mexico).
Father of the celebrated painter José Juárez. Some of his most popular pieces are El arcángel San Miguel luchando contra el demonio, which belongs to the collection of the Pinacoteca Nacional, Los Desposorios de la Virgen, located in the Figge Art Museum in Iowa, and the Imposición de la Casulla San Idelfonso.
Painter of the Spanish Baroque who lived in the Viceroyalty of New Spain. Juárez made his formation at first in his father’s workshop, and afterwards in Sebastian López de Arteaga’s, where he acquired the mannerist style of Italian influence. His style was tenebrism, influenced by Zurbarán, but not in a direct way but through the work of his mentor. His works covers religous themes. Maybe, his most known works are two that can be found in Mexico City’s Pinacoteca Virreinal : La Epifanía or Adoración de los Reyes and Martirio de los Santos Justo y Pastor; also La Sagrada Familia located in Puebla’s Academia de Bellas Artes.
New Spanish active painter between 1676 and 1716, His work covers religious subjects as well as profane matters. Its considerated one of his finest works the piece Asunción de la Virgen in Mexico City’s Metropolitan Cathedral. In Antequera, Málaga, exist a collection located in the City’s Museum with works related to the Virgin Mary; he also painted Guadalupan themes in Rome (1669). Correa worked fiercelyfrom 1671 to 1716, and he reached great prestige and fame because of the quality of his painting ant measurement of some of his works. Among his most popular works we can find: Apocalipsis in Mexico’s cathedral, La conversión de Santa María Magdalena, currently located in the Pinacoteca Virreinal, and Adán y Eva arrojados del Paraíso, harbored in the Museo Nacional del Virreinato in Tepotzotlán.
Belonged to a prolific family of artists. Rodríguez Juárez is a painter with works of baroque and rococo characteristics; his style is halfway between the tenebrism and the late baroque painting or rococo. He cultivated the portraiture genre highlighting his portrait of the archbishop José de Lanciego, and the viceking’s Fernando de Alencastre, duke of Linares. He also encompassed religious matters, genre in which outstands the canvases made for the king’s altarpiece in the Metropolitan Cathedral of Mexico, dedicated to the worshiping of the kings.
Known as one the maximum exponents of the baroque work from the Ciceroyalty. He started his artistic career until 1740. The Marian theme, and more specifically the Virgin of Guadalupe, occupies a big part of his work. He made paintings for Mexico City Cathedral’s chapels, among them, the sacristy, which harbors in one of its walls La Mujer del Apocalipsis. Also, he was a painter of the archbishop Manuel José Rubio y Salinas’ chamber. Likewise, his author of a multitude of images of saints spread around numerous museums, convents, and churches.
