Null Juan Patricio Morlete (San Miguel de Allende, Guanajuato, 1713 - Mexico Cit…
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Juan Patricio Morlete (San Miguel de Allende, Guanajuato, 1713 - Mexico City, 1772) ‘Virgin of Guadalupe’. Oil on canvas. 66 x 55,5 cm. Juan Patricio Morlete Ruiz was one of the greatest painters in Mexico during the second half of the 18th century. Although his biography was little known until the 20th century, his work began to be more widely disseminated through various collections, which made it possible to learn more about him. Morlete, with an extensive oeuvre in Mexico, is particularly known for his series of caste paintings. The Museo de América has a still life by his hand (inv. 2021/04/01). Manuel López-Pintado y Almonacid (Toledo, 1677 - Seville, 1745) was an Admiral of the Spanish treasure fleet. He founded the Academy of Painting in 1753, together with his teacher José de Ibarra, Miguel de Cabrera, José de Alcíbar and other illustrious figures. Two years earlier, in 1751, he had been part of the group of artists who inspected the image of the Virgin of Guadalupe. These two events reflect the artistic and cultural importance, as well as the social and professional recognition of our painter.

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Juan Patricio Morlete (San Miguel de Allende, Guanajuato, 1713 - Mexico City, 1772) ‘Virgin of Guadalupe’. Oil on canvas. 66 x 55,5 cm. Juan Patricio Morlete Ruiz was one of the greatest painters in Mexico during the second half of the 18th century. Although his biography was little known until the 20th century, his work began to be more widely disseminated through various collections, which made it possible to learn more about him. Morlete, with an extensive oeuvre in Mexico, is particularly known for his series of caste paintings. The Museo de América has a still life by his hand (inv. 2021/04/01). Manuel López-Pintado y Almonacid (Toledo, 1677 - Seville, 1745) was an Admiral of the Spanish treasure fleet. He founded the Academy of Painting in 1753, together with his teacher José de Ibarra, Miguel de Cabrera, José de Alcíbar and other illustrious figures. Two years earlier, in 1751, he had been part of the group of artists who inspected the image of the Virgin of Guadalupe. These two events reflect the artistic and cultural importance, as well as the social and professional recognition of our painter.

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Attributed to the Italo-Valencian school of PAOLO DE SAN LEOCADIO (Reggio Emilia, 1447-Valencia, 1519) - Saint John the Baptist and Mary Magdalene on panel Pair of oil paintings on panel representing Saint John the Baptist and Mary Magdalene. Oil on panel. Measurements of each table: 145 x 60 cm, good general state of conservation in polychrome. Provenance: private collection, Madrid. Pilar Silva Maroto (Reggio Emilia, 1447-Valencia, 1519). Italian painter who developed much of his activity in Valencia, and helped introduce the Renaissance to the city. Of Ferrari-Paduan training, judging by the style of the first works attributed to him, he must also have known the Venetian painting of the Bellini. Thanks to the protection of Cardinal Rodrigo de Borja - the future Pope Alexander VI - Paolo de San Leocadio arrived in Valencia in 1472 together with the Neapolitan painter Francesco Pagano. The Virgin of the Knight of Montesa (c. 1475, Prado), which is attributed to his hand, the Sacra Conversatione (signed, National Gallery, London) or the San Miguel (c. 1500, Diocesan Museum of Sacred Art of Orihuela, which comes from the chapel of the Ducal Palace of Gandía), demonstrate how he maintained his quality, without being necessary that supposed trip to Italy that Ximo Company places between 1484 and 1488, since the Italian sources of his art remain the same as when he arrived in Valencia in 1472. The best testimony of the reputation he obtained with his painting is, without a doubt, the document dated in Castellón in 1490 on the occasion of the execution of the main altarpiece of the cathedral -unfortunately disappeared-, in which Paolo is described of San Leocadio as the most solemn painter in Spain. Married three times, he had two painter sons, Felipe Pablo de San Leocadio, from his second wife, and Miquel Joan, from his third, who collaborated with him in his final stage. Thanks to the patronage of the Duchess of Gandía, María Enríquez, widow of Juan de Borja, ...