Spanish Baroque painting refers to the style of painting which developed in Spain throughout the 17th century and the first half of the 18th century. The style appeared in early 17th century paintings, and arose in response to Mannerist distortions and idealisation of beauty in excess, appearing in early 17th century paintings. Its main objective was, above all, to allow the viewer to easily understand the scenes depicted in the works through the use of realism, while also meeting the Catholic Church's demands for 'decorum' during the Counter-Reformation.
The naturalism typical of the Caravaggisti in Italy, and the dramatic illumination of Tenebrism that was introduced in Spain after 1610, would go on to shape the dominant style of painting in Spain in the first half of the 17th century. The style was later influenced by Flemish Baroque painting, as the Spanish Habsburgs ruled over an area of the Netherlands during this period. The arrival of Flemish painter Peter Paul Rubens in Spain, who visited the country in 1603 and 1628, also had some influence Spanish painting. However, it was the profusion of his works, as well as those of his students, which would go on to have an even greater impact from 1638 onward. Ruben's influence was later combined with the technique used by Titian, which incorporated loose brushstrokes and broken contours; the fusion of these influences was key to the creation of the works of Diego Velázquez, the most prestigious artist of the period.
The combination of Flemish influences, the new artistic trends from Italy, the arrival of the fresco painters Agostino Mitelli and Angelo Michele Colonna in 1658, as well as the arrival of Luca Giordano in 1692, would lead to the zenith of the Baroque period, characterised by its dynamism and innovation, in the second half of the 17th century. Despite the fact that Spain was hit especially hard by the General Crisis, this period is known as the Golden Age of Spanish Painting, because of the great quantity, quality, and originality of the world class artists that arose during the time.
Characteristics
Patrons and commissioners
The artists' principal clientele consisted of the Catholic Church and institutions linked to it (confraternities and brotherhoods), as well as those who commissioned paintings for their chapels and foundations. Religious paintings held great importance, as they were commissioned by the Catholic Church to be used during the Counter-Reformation. Painters employed by the Church had to abide by the limitations and supervision of the Church rectors, who determined both the subject of the paintings and the way in which the subject would be portrayed: contracts would frequently state which models the painter had to follow, and final approval of the paintings had to be given by the prior. On the other hand, working for the Church would not only provide painters with a considerable source of income, but also the opportunity to gain social prestige, as it allowed them to exhibit their work in public.
The Royal Court also commissioned paintings, with Philip IV of Spain in particular providing a 'true patronage' for painters. In a letter to a friend sent from Madrid in 1628, Rubens stated: "Here I devote my time to painting, as I have done in other places, and I have already completed an equestrian portrait of His Majesty, which he was very pleased with. It's true that he is extremely captivated by painting, and I believe he has been gifted with some exceptional qualities. We have become close: as I'm staying at the palace, he comes to visit me every day."
The urgent need to decorate the newly constructed Buen Retiro Palace gave rise to important commissions. Spanish painters were entrusted with the decoration of the Hall of Realms: Velázquez's equestrian portraits, a series of paintings of Military art, with the recent victories of Philip IV's armies, and Francisco de Zurbarán's series depicting the Labours of Hercules were among the works contributed. Foreign artists operating in Rome, such as Claudio de Lorena and Nicolas Poussin, were commissioned to produce two series of paintings for the Gallery of Landscapes. Painters working in Naples, such as Giovanni Lanfranco, and Domenichino, were commissioned to create more than thirty paintings depicting Rome's history, a collection to which the painting Women Gladiators by José de Ribera belongs.