胡安.鲍蒂斯塔.梅佐Juan Bautista Martínez del Mazo（1612年——1667年2月10日），西班牙画家。
鲜为人知的是真的知道关于梅佐的早期生活。他的出生日期和地点是不确定的。显然，他出生于昆卡，作为他的父母，埃尔南多·马丁内斯和圣卢西亚布埃诺德尔梅佐，来自该省。不过，也有人士认为皇马为他的家乡城市。他诞生之日起一直围绕1612年估计，因为众所周知，他的母亲出生在1596年，他于1633年时，他大概是二十出头结婚。
他的训练的下落仍是一个谜。他一定是在委拉斯开兹的车间有时候他的婚姻之前，所以这是很可能的，他曾经是他未来岳父岳母的徒弟。梅佐嫁给了著名画家的唯一幸存的女儿弗朗西斯·德席尔瓦委拉斯开兹Ÿ帕切科，于1633年8月21日，在圣地亚哥在马德里教堂。 腓力四世和首相，奥利瓦雷斯伯爵，公爵，曾担任夫妻的共同提案国。婚姻是保证梅佐的法院在未来的成功事件。委拉斯开兹立即安排王室任命，在1634年2月23日，他转移到他的梅佐国王的商会亚瑟小子的位置，与国王的许可。从这一点可以假定梅佐当时已是著名画家的弟子，并自该日起，他密切与他的父亲在法律与他生活和合作有关。委拉斯开兹进一步推动梅佐的职业生涯有一个稳定的手和安全宫廷任命他为后来梅佐的孩子。
1643年，梅佐成为绘画大师和继承人西班牙王室，个人画家巴尔塔萨·卡洛斯，阿斯图里亚斯王子，谁于1645年成为他的教父第五个孩子。王子巴尔塔萨卡洛斯委托他通过复制狩猎场景保罗·德·沃斯，鲁本斯，约尔丹斯和其他佛兰德画家。[1]梅佐陪同王子阿拉贡在1646在这次旅行中，他画了著名萨拉戈萨观和最后的肖像年轻的王子谁在十六岁时意外死亡。王子去世后，菲利普四世颁布法令，该梅佐已经接受津贴继续，并保持了他作为一个画家。
梅佐在皇家收藏品，如第一个表达了自己威尼斯大师的人才复制作品丁托列托，提香和保罗·维罗纳，他用刻苦和成功执行的任务。他丰富多彩的工作作为一个抄写员打开了他的方式他那个时代的大师，尤其是秘密鲁本斯和约尔丹斯。这样的副本必须大大削减可供他原来工作的时候，就像生产的委拉斯开兹的，他画的肖像王室的副本; 一个例子是他的肖像公主玛格丽特·特里萨，今天是在维也纳博物馆旁边的委拉斯开兹原来的展出。尽管如此，梅佐还是觉得自由地按照自己的意思来执行，真正的贴近生活的自然的辉煌弯曲。
梅佐很少签上了自己的作品，这推动了混淆，委拉斯开兹的工作，使其难以他们的作品的作者分开。事实上，很少有现存的书画名家学者一致是他的; 这其中就包括萨拉戈萨观（1646 普拉多）; 在丧服女王肖像马里亚纳（1666年，国家美术馆，伦敦）; 和画家的家庭（约1660年至1665年，艺术史博物馆，维也纳）。他有他的一些作品的普拉多，那些靠近他的导师。
虽然梅佐收购大技能的肖像画家，他的一些最有趣的作品正在追捕中，他开发出了更具个人风格与现实的尊重件和风景。他们与动画与极致的细节处理人物众多。他的风景画都具有十分重要的观察作品，他的作品作为例证萨拉戈萨观和猎鹿在阿兰胡埃斯 -无论是被委托腓力四世。他还画了一些静物。1657年梅佐前往意大利试图恢复谁已经成为寡妇他的大女儿伊内斯的嫁妆那不勒斯。在这次旅行中，梅佐画铁托的凯旋门，显示罗马景观的影响。
梅佐的作品欠首先是委拉斯开兹，他的风格，他不得不长期在法院人像效仿的功劳。然而，梅佐显示在他的画他自己的个性。他的肖像画表现出令人吃惊的自然和神奇的执行。梅佐在画小的数字，在这两个他的狩猎场面和他画在他最著名的作品风景一个基本元素特别熟练萨拉戈萨观。[1]
梅佐的调色板倒像是委拉斯开兹的，除了经常显示为强调蓝色或青色的色彩情有独钟。[1]从他的主人的风格之间的偏离程度体现在他由朝闪烁图像画面的亮点塑造人与事的方式画中，甚至从背景面。[1]作为一种平衡，明确的，甚至言之凿凿，透视设计标志着走出组成的空间局限，使其显得拘谨。[1]从委拉斯开兹进一步的离开是他的豪华细节或事件的描述，他与辉煌，depthless招实现，无论是在保姆的身影，在墙壁上的窗帘，地板，河流，或者在普通土场地的表面。[1]这些文体特征揭示梅佐的自我个性的艺术家。[1]几个世纪以来，梅佐的画是由于委拉斯开兹，但现代的艺术批评，技术和知识已经能够区分自己的作品。
在他的学生是贝尼托·曼努埃尔·阿圭罗（1626年至1672年）。
只要委拉斯开兹住，梅佐造成他所有的艺术在他的父亲在法律的工作室。委拉斯开兹在1660去世后，菲利普四世任命他为正式宫廷画家于1661 4月19日，而他的儿子加斯帕作为了迎来商会他以前的位置。在死亡腓力四世于1665年，梅佐保留了他的位置法院摄政女王马里亚纳，其肖像的丧服（国家画廊，伦敦 1666年）是他几签署的作品之一。在此期间，他画的肖像公主玛格丽特邓丽君，也是在悼念礼服，她离开西班牙嫁给奥地利皇帝面前。梅佐举行了他作为正式宫廷画家的位置，直到他在马德里去世于1667年2月9日。
梅佐的第一任妻子弗朗西斯·德席尔瓦委拉斯开兹Ÿ帕切科（1619年至1658年），给了他六个孩子; 她不久即死亡的最后一个孩子出生后。他的第二任妻子，弗朗西斯·德拉维加在他的绘画中所示的画家的家庭，在1665年去世; 他们有四个儿子。他的第三任妻子是他的妹妹在法律，安娜·德拉维加，谁存活他和再婚。通过他的女儿玛丽亚·特雷莎·马丁内斯德尔梅佐ÿ委拉斯开兹（1648年至1692年），他是蒙特利昂娜的的marquesses的祖先，包括Enriquetta（亨丽埃塔）卡萨多去蒙特利昂娜（1725年至1761年），谁于1746年结婚海因里希六，伯爵罗伊斯祖Köstritz（1707年至1783年）。通过他们的后裔许多欧洲皇室，其中包括西班牙王后索菲亚，[3] 荷兰女王贝娅特丽克丝，瑞典国王卡尔十六世·古斯塔夫，比利时国王阿尔贝二世，汉斯-亚当二世，列支敦士登王子和亨利大公卢森堡。[4]
Little is really known about Mazo’s early life. The date and place of his birth are uncertain. Apparently, he was born in Cuenca, as his parents, Hernando Martinez and Lucia Bueno del Mazo, were from that province. However, some sources consider Madrid as his native city. The date of his birth has been estimated around 1612 since it is known that his mother was born in 1596 and he married in 1633 when he probably was in his early twenties.[2]
The whereabouts of his training remain a mystery. He must have been in Velázquez's workshop sometimes before his marriage, so it is quite possible that he had been his future father-in-law's apprentice. Mazo married the famous painter’s only surviving daughter, Francisca de Silva Velázquez y Pacheco, on August 21, 1633, at the Church of Santiago in Madrid.[2] Philip IV and the Prime Minister, the Count-Duke of Olivares, served as the couple’s sponsors. The marriage was the event that guaranteed Mazo’s future success at Court. Velázquez immediately arranged a royal appointment and on February 23, 1634, he transferred to Mazo his position of Usher of the King’s Chamber, with the permission of the King. From this it can be assumed that Mazo was then already a disciple of the famous painter, and from that date he was closely associated with his father-in-law with whom he lived and collaborated. Velázquez furthered Mazo's career with a steady hand and secured palace appointments for him and later for Mazo’s children.
In 1643, Mazo became Master of Drawing and personal painter of the heir to the Spanish Crown, Baltasar Carlos, Prince of Asturias, who in 1645 became godfather of his fifth child. Prince Baltasar Carlos commissioned him to copy hunt scenes by Paul de Vos, Rubens, Jordaens and other Flemish painters.[1] Mazo accompanied the prince to Aragón in 1646. During this trip, he painted the famous View of Saragossa and a last portrait of the young prince who died unexpectedly at the age of sixteen. After the death of the prince, Philip IV decreed that the perquisites that Mazo had been receiving be continued, and kept him employed as a painter.
Mazo first expressed his talent copying works of Venetian masters in the royal collections, such asTintoretto, Titian, and Paul Veronese, a task that he performed with assiduity and success. His colorful work as a copyist opened his way to the secrets of the great masters of his time, especially Rubens andJordaens. Such copies must have considerably cut down the time available for his original work, as did the production of replicas of Velázquez's royal portraits that he painted; an example would be his portrait of Infanta Margaret Theresa that today is exhibited next to the Velázquez original in a Viennese museum. Nevertheless, Mazo still felt free to follow his own bent for brilliancy of execution and true-to-life naturalism.
Mazo rarely signed his works, which furthered the confusion with the work of Velázquez, making it difficult to separate the authorship of their paintings. In fact, there are few extant paintings that scholars agree are his; these include View of Saragossa (1646, Prado);Portrait of Queen Mariana in Mourning Dress (1666, National Gallery, London); and The Family of the Painter (c. 1660–1665,Kunsthistorisches Museum, Vienna). He has some of his works in the Prado, near those of his mentor.
Although Mazo acquired great skills as a portrait painter, some of his most interesting works are hunting pieces and landscapes in which he developed a more personal style with a respect for reality. They are animated with a multitude of figures treated with extreme detail. His landscapes are works of great observation as exemplified by his paintings View of Saragossa and Stag Hunt at Aranjuez – both were commissioned by Philip IV. He also painted some still lifes. In 1657 Mazo traveled to Italy trying to recover the dowry of his eldest daughter Ines who had become a widow in Naples. During this trip, Mazo painted The Arch of Tito that shows the influence of Roman landscapes.
Mazo’s works owe credit above all to Velázquez, whose style he was long compelled to emulate in Court portraits. However, Mazo shows in his paintings a personality of his own. His portraits exhibit startling naturalism and marvelous execution. Mazo was particularly skillful in painting small figures, a cardinal element in both his hunting scenes and the landscapes he painted as in his most celebrated work View of Saragossa.[1]
Mazo’s palette was rather like that of Velázquez, except for a penchant often shown for stressing blue or bluish tints.[1] The departure from his master's style is reflected in his way of shaping people and things by highlights which flash the pictorial image towards the surface of the painting, even from the background.[1] As a counterbalance, an explicit, even emphatic, perspective design marks out the spatial confines of the composition, making it appear squarish.[1] A further departure from Velázquez is his luxurious depiction of detail or incident which he achieved with brilliant, depthless strokes, whether on the figure of a sitter, a curtain on a wall, a floor, the surface of a river, or on plain earthen grounds.[1] These stylistic traits reveal Mazo’s own personality as an artist.[1] For centuries, Mazo’s paintings were attributed to Velázquez, but modern art criticism, techniques, and knowledge have been able to separate their works.
Among his pupils was Benito Manuel Agüero (1626–1672).
As long as Velázquez lived, Mazo wrought all of his art in his father-in-law's studio. After Velázquez's death in 1660, Philip IV appointed him as the official Court painter on April 19, 1661, while his son Gaspar took his former position as Usher to the Chamber. At the death of Philip IV in 1665, Mazo kept his position at Court under the regency of Queen Mariana, whose portrait in mourning dress (National Gallery, London, 1666) is one of his few signed works. In this period, he painted a portrait of Infanta Margarita Teresa, also in mourning dress, before she left Spain to marry the Austrian Emperor. Mazo held his position as official Court painter until his death in Madrid on February 9, 1667.
Mazo's first wife, Francisca de Silva Velázquez y Pacheco (1619–1658), gave him six children; she died shortly after the last child was born. His second wife, Francisca de La Vega, shown in his painting The Family of the Painter, died in 1665; they had four sons. His third wife was his sister-in-law, Ana de la Vega, who survived him and remarried. Through his daughter Maria Teresa Martinez del Mazo y Velázquez (1648–1692), he is an ancestor of the Marquesses of Monteleone, including Enriquetta (Henrietta) Casado de Monteleone (1725–1761) who in 1746 married Heinrich VI, Count Reuss zu Köstritz (1707–1783). Through them are descended a number of European royalty, among them Queen Sofía of Spain,[3] Queen Beatrix of the Netherlands, King Carl XVI Gustaf of Sweden, King Albert II of Belgium, Hans-Adam II, Prince of Liechtenstein, and Henri, Grand Duke of Luxembourg.[4]
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