This is how I imagine a Spanish bullfighter at the end of the 19th century. Dressed up, dainty, proud, with arrogant-racial look. In fact, the insignia, brush and cardboard with body study reveal that it is the self-portrait of a painter, 31-year-old Luis Egidio Meléndez. He is a master of the bodegón, still lifes that depict mainly food. Aren't still lifes of "inanimate objects," with artfully arranged lemons, bitten apples or game, a 17th-century Dutch specialty? True, but the southern Netherlands belonged to the Spanish Empire at the time. Baroque Spanish and Dutch still lifes, however, were virtually haunted by symbols, such as skulls (for transience) or fish (for Christ). This was different in Meléndez's late 18th-century Spanish bodegones: dishes and food took center stage and simply stood on their own.
The Meléndez family of artists was well known, but always in a more or less desolate economic situation. Meléndez's father Francisco sought a better living in Italy from 1699 than in his native Spain - in vain. Luis Egidio was trained by him and the French high-society painter Louis Michel van Loo and was to become the most famous of the Meléndezes. His self-portrait hangs in the Louvre, more than 40 of his small oil paintings are part of the collection of the Prado in Madrid, including the most famous, only 42 by 62 centimeters "A piece of salmon, a lemon and three vessels." The title already a poem. Meléndez continued the tradition of the great Spanish still life painters of the Siglo de oro, the Golden Age, Juan Sánchez Cotán and Francisco de Zurbarán. Characteristics of Meléndez's bodegones are the rigor of the composition, the accurate, naturalistic rendering of the light, texture and color of the food, fruit and vessels made of copper, clay or glass. He also brings the objects to the forefront, close to the viewer. The food, the everyday utensils are the subject, not any moral or religious implications - how modern! An anecdote on the side: naturalists had assumed that the San José scale insect, which attacks fruit trees and is still subject to registration in Germany, only raged in Spain from the 19th century onwards. Meléndez imaged the fruit with such an obsession for detail that the tiny traces of the San José scale insect were visible on them - and scientists had to correct their records.
Until 1748, Luis Egidio worked as an assistant to Louis Michel van Loo, but got nowhere with his own career. For four years he tried his luck in Italy, like his father, until the latter called him back to Madrid in 1752: a fire had destroyed the royal choir library a few years earlier. Miniature painters like Luis Egidio were in demand for the restoration of the precious illustrated books. For the crown prince's natural history cabinet, Meléndez created 44 still lifes depicting Spanish vegetables and fruits (and traces of the San José scale insect), most of which now belong to the Prado. His bodegones, however, were nothing but natural history illustrations for science at the time: in 1760 his application to be appointed chamber painter to the court was rejected. He died in 1780 - unrecognized and in poverty.
This is how I imagine a Spanish bullfighter at the end of the 19th century. Dressed up, dainty, proud, with arrogant-racial look. In fact, the insignia, brush and cardboard with body study reveal that it is the self-portrait of a painter, 31-year-old Luis Egidio Meléndez. He is a master of the bodegón, still lifes that depict mainly food. Aren't still lifes of "inanimate objects," with artfully arranged lemons, bitten apples or game, a 17th-century Dutch specialty? True, but the southern Netherlands belonged to the Spanish Empire at the time. Baroque Spanish and Dutch still lifes, however, were virtually haunted by symbols, such as skulls (for transience) or fish (for Christ). This was different in Meléndez's late 18th-century Spanish bodegones: dishes and food took center stage and simply stood on their own.
The Meléndez family of artists was well known, but always in a more or less desolate economic situation. Meléndez's father Francisco sought a better living in Italy from 1699 than in his native Spain - in vain. Luis Egidio was trained by him and the French high-society painter Louis Michel van Loo and was to become the most famous of the Meléndezes. His self-portrait hangs in the Louvre, more than 40 of his small oil paintings are part of the collection of the Prado in Madrid, including the most famous, only 42 by 62 centimeters "A piece of salmon, a lemon and three vessels." The title already a poem. Meléndez continued the tradition of the great Spanish still life painters of the Siglo de oro, the Golden Age, Juan Sánchez Cotán and Francisco de Zurbarán. Characteristics of Meléndez's bodegones are the rigor of the composition, the accurate, naturalistic rendering of the light, texture and color of the food, fruit and vessels made of copper, clay or glass. He also brings the objects to the forefront, close to the viewer. The food, the everyday utensils are the subject, not any moral or religious implications - how modern! An anecdote on the side: naturalists had assumed that the San José scale insect, which attacks fruit trees and is still subject to registration in Germany, only raged in Spain from the 19th century onwards. Meléndez imaged the fruit with such an obsession for detail that the tiny traces of the San José scale insect were visible on them - and scientists had to correct their records.
Until 1748, Luis Egidio worked as an assistant to Louis Michel van Loo, but got nowhere with his own career. For four years he tried his luck in Italy, like his father, until the latter called him back to Madrid in 1752: a fire had destroyed the royal choir library a few years earlier. Miniature painters like Luis Egidio were in demand for the restoration of the precious illustrated books. For the crown prince's natural history cabinet, Meléndez created 44 still lifes depicting Spanish vegetables and fruits (and traces of the San José scale insect), most of which now belong to the Prado. His bodegones, however, were nothing but natural history illustrations for science at the time: in 1760 his application to be appointed chamber painter to the court was rejected. He died in 1780 - unrecognized and in poverty.
Page 1 / 1