{"id":7152,"date":"2020-12-03T12:22:40","date_gmt":"2020-12-03T12:22:40","guid":{"rendered":"https:\/\/www.rmcr.org\/?p=7152"},"modified":"2020-12-03T12:22:40","modified_gmt":"2020-12-03T12:22:40","slug":"retrato-de-fernando-de-valenzuela-ii","status":"publish","type":"post","link":"https:\/\/www.rmcr.org\/en\/2020\/12\/03\/retrato-de-fernando-de-valenzuela-ii\/","title":{"rendered":"Sala de Historia de la Real Maestranza de Caballer\u00eda de Ronda. Retrato de Fernando de Valenzuela (II). El pintor"},"content":{"rendered":"\n<p>Claudio Coello es el autor del retrato de Fernando de Valenzuela que se exhibe en la galer\u00eda de cuadros de la Sala de la Real Maestranza. Se trata de uno de los m\u00e1ximos representantes del barroco espa\u00f1ol que se aglutina en la llamada escuela madrile\u00f1a, durante los reinados de Felipe IV y Carlos II, el Siglo de Oro de la pintura espa\u00f1ola. Se caracteriza porque su producci\u00f3n art\u00edstica est\u00e1 vinculada a la Corte, destinada a una clientela formada por la nobleza y la realeza, que se manifiesta fundamentalmente en obras de tem\u00e1tica religiosa y retratos.<\/p>\n\n\n\n<div class=\"wp-block-image\"><figure class=\"aligncenter size-large is-resized\"><a href=\"https:\/\/www.hermitagemuseum.org\/wps\/portal\/hermitage\/digital-collection\/01.+Paintings\/32707\/\"><img fetchpriority=\"high\" decoding=\"async\" src=\"https:\/\/www.rmcr.org\/wp-content\/uploads\/2020\/12\/claudio-coello-hermitage.jpg?w=740\" alt=\"\" class=\"wp-image-1335\" width=\"287\" height=\"396\" \/><\/a><\/figure><\/div>\n\n\n\n<p class=\"has-text-align-center\"><em><a href=\"https:\/\/www.hermitagemuseum.org\/wps\/portal\/hermitage\/digital-collection\/01.+Paintings\/32707\/\">Autorretrato. Claudio Coello, 1680. \u00d3leo sobre lienzo. Museo del Ermitage, San Petersburgo.<\/a><\/em><\/p>\n\n\n\n<p>Claudio Coello naci\u00f3 en Madrid en 1642, de ascendencia portuguesa. Su padre, broncista de profesi\u00f3n, meti\u00f3 a su hijo en el taller de Francisco Rizi, pintor del Rey y a trav\u00e9s del cual acceder\u00eda a la Corte y a su clientela. Desde el principio mostr\u00f3 facilidad para el dibujo y mucha constancia en el estudio de los grandes maestros italianos y flamencos. El retrato de Fernando de Valenzuela, por su dataci\u00f3n aproximada en torno a 1660, es una obra de juventud, en torno a sus veinte a\u00f1os, que coincide en el tiempo con la primera obra fechada que se conserva en el Museo del Prado (<em>Jes\u00fas ni\u00f1o a la puerta del templo<\/em>).&nbsp; Con el tiempo, sus numerosas obras demostrar\u00e1n su capacidad para la escenogr\u00e1f\u00eda y un personal tratamiento del color, tanto al fresco como al \u00f3leo en iglesias y conventos o retratos cortesanos. Est\u00e1 considerado como la personalidad art\u00edstica m\u00e1s destacada del \u00faltimo barroco madrile\u00f1o.<\/p>\n\n\n\n<p>En 1683 fue nombrado pintor del Rey. Dos a\u00f1os despu\u00e9s, a la muerte de su maestro Rizi, se le asign\u00f3 un salario y acometi\u00f3 la que es su obra m\u00e1s famosa, <em>Adoraci\u00f3n de la Sagrada Forma<\/em>, lienzo de grandes dimensiones que preside la sacrist\u00eda del Monasterio de San Lorenzo de El Escorial. El cuadro es tambi\u00e9n una galer\u00eda de retratos de la corte de Carlos II con un triple inter\u00e9s que se suma a sus calidades: se entiende como documento hist\u00f3rico, alegor\u00eda religiosa y manifiesto pol\u00edtico. Cuando lo termin\u00f3, hacia 1690, ya hab\u00eda jurado el cargo de pintor de c\u00e1mara en sustituci\u00f3n de Carre\u00f1o de Miranda. Fallecer\u00eda tres a\u00f1os m\u00e1s tarde, el 18 de abril de 1693 a los 51 a\u00f1os de edad.<\/p>\n\n\n\n<p>Para leer la primera entrega sobre Fernando de Valenzuela pulsa en el link: <a href=\"https:\/\/bit.ly\/RMR_Museo_Valenzuela\">https:\/\/bit.ly\/RMR_Museo_Valenzuela<\/a><\/p>\n\n\n\n<p>Bibliograf\u00eda<\/p>\n\n\n\n<p>J. A. Gaya Nu\u00f1o, <em>Claudio Coello<\/em>, Madrid, Consejo Superior de Investigaciones Cient\u00edficas, 1957<\/p>\n\n\n\n<p>E. J. Sullivan, <em>Claudio Coello y la pintura barroca madrile\u00f1a<\/em>, San Sebasti\u00e1n, Editorial Nerea, 1984.<\/p>\n\n\n\n<p>A. Palomino, <em>Museo pict\u00f3rico y escala \u00f3ptica<\/em>, Madrid, 1724 (Madrid, Aguilar, 1947)<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Claudio Coello es el autor del retrato de Fernando de Valenzuela que se exhibe en la galer\u00eda de cuadros de la Sala de la Real Maestranza. Se trata de uno de los m\u00e1ximos representantes del barroco espa\u00f1ol que se aglutina en la llamada escuela madrile\u00f1a, durante los reinados de Felipe IV y Carlos II, el Siglo de Oro de la pintura espa\u00f1ola. Se caracteriza porque su producci\u00f3n art\u00edstica est\u00e1 vinculada a la Corte, destinada a una clientela formada por la nobleza y la realeza, que se manifiesta fundamentalmente en obras de tem\u00e1tica religiosa y retratos.<\/p>\n","protected":false},"author":7,"featured_media":7399,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[272,284,301],"tags":[415,425,320,416,417,315,382,114],"class_list":["post-7152","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-colecciones-museisticas","category-historia","category-real-maestranza","tag-carlos-ii","tag-claudio-coello","tag-coleccion-museistica","tag-felipe-iv","tag-fernando-de-valenzuela","tag-plaza-de-toros-de-ronda","tag-retrato","tag-ronda"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.5 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>Sala de Historia de la Real Maestranza de Caballer\u00eda de Ronda. Retrato de Fernando de Valenzuela (II). El pintor - Real Maestranza de Caballer\u00eda de Ronda<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.rmcr.org\/en\/2020\/12\/03\/retrato-de-fernando-de-valenzuela-ii\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Sala de Historia de la Real Maestranza de Caballer\u00eda de Ronda. Retrato de Fernando de Valenzuela (II). El pintor - Real Maestranza de Caballer\u00eda de Ronda\" \/>\n<meta property=\"og:description\" content=\"Claudio Coello es el autor del retrato de Fernando de Valenzuela que se exhibe en la galer\u00eda de cuadros de la Sala de la Real Maestranza. Se trata de uno de los m\u00e1ximos representantes del barroco espa\u00f1ol que se aglutina en la llamada escuela madrile\u00f1a, durante los reinados de Felipe IV y Carlos II, el Siglo de Oro de la pintura espa\u00f1ola. Se caracteriza porque su producci\u00f3n art\u00edstica est\u00e1 vinculada a la Corte, destinada a una clientela formada por la nobleza y la realeza, que se manifiesta fundamentalmente en obras de tem\u00e1tica religiosa y retratos.\" \/>\n<meta property=\"og:url\" content=\"https:\/\/www.rmcr.org\/en\/2020\/12\/03\/retrato-de-fernando-de-valenzuela-ii\/\" \/>\n<meta property=\"og:site_name\" content=\"Real Maestranza de Caballer\u00eda de Ronda\" \/>\n<meta property=\"article:publisher\" content=\"https:\/\/www.facebook.com\/plazadetorosronda\" \/>\n<meta property=\"article:published_time\" content=\"2020-12-03T12:22:40+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/www.rmcr.org\/wp-content\/uploads\/2020\/12\/pnr1.png\" \/>\n\t<meta property=\"og:image:width\" content=\"482\" \/>\n\t<meta property=\"og:image:height\" content=\"155\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/png\" \/>\n<meta name=\"author\" content=\"RMCR\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:creator\" content=\"@PlazatorosRMR\" \/>\n<meta name=\"twitter:site\" content=\"@PlazatorosRMR\" \/>\n<meta name=\"twitter:label1\" content=\"Written by\" \/>\n\t<meta name=\"twitter:data1\" content=\"RMCR\" \/>\n\t<meta name=\"twitter:label2\" content=\"Est. reading time\" \/>\n\t<meta name=\"twitter:data2\" content=\"2 minutes\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\\\/\\\/schema.org\",\"@graph\":[{\"@type\":\"Article\",\"@id\":\"https:\\\/\\\/www.rmcr.org\\\/en\\\/2020\\\/12\\\/03\\\/retrato-de-fernando-de-valenzuela-ii\\\/#article\",\"isPartOf\":{\"@id\":\"https:\\\/\\\/www.rmcr.org\\\/en\\\/2020\\\/12\\\/03\\\/retrato-de-fernando-de-valenzuela-ii\\\/\"},\"author\":{\"name\":\"RMCR\",\"@id\":\"https:\\\/\\\/www.rmcr.org\\\/en\\\/#\\\/schema\\\/person\\\/7ddd0dafda7edd0e407157f93a56df4f\"},\"headline\":\"Sala de Historia de la Real Maestranza de Caballer\u00eda de Ronda. 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Se caracteriza porque su producci\u00f3n art\u00edstica est\u00e1 vinculada a la Corte, destinada a una clientela formada por la nobleza y la realeza, que se manifiesta fundamentalmente en obras de tem\u00e1tica religiosa y retratos.","og_url":"https:\/\/www.rmcr.org\/en\/2020\/12\/03\/retrato-de-fernando-de-valenzuela-ii\/","og_site_name":"Real Maestranza de Caballer\u00eda de Ronda","article_publisher":"https:\/\/www.facebook.com\/plazadetorosronda","article_published_time":"2020-12-03T12:22:40+00:00","og_image":[{"width":482,"height":155,"url":"https:\/\/www.rmcr.org\/wp-content\/uploads\/2020\/12\/pnr1.png","type":"image\/png"}],"author":"RMCR","twitter_card":"summary_large_image","twitter_creator":"@PlazatorosRMR","twitter_site":"@PlazatorosRMR","twitter_misc":{"Written by":"RMCR","Est. reading time":"2 minutes"},"schema":{"@context":"https:\/\/schema.org","@graph":[{"@type":"Article","@id":"https:\/\/www.rmcr.org\/en\/2020\/12\/03\/retrato-de-fernando-de-valenzuela-ii\/#article","isPartOf":{"@id":"https:\/\/www.rmcr.org\/en\/2020\/12\/03\/retrato-de-fernando-de-valenzuela-ii\/"},"author":{"name":"RMCR","@id":"https:\/\/www.rmcr.org\/en\/#\/schema\/person\/7ddd0dafda7edd0e407157f93a56df4f"},"headline":"Sala de Historia de la Real Maestranza de Caballer\u00eda de Ronda. 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