Juan Bautista Maíno

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Detail from Maínos Adoration of the Magi in the Prado , Madrid . It may be a self-portrait of the painter.

Juan Bautista Maíno , Maino or Mayno (* in Pastrana , Guadalajara province , baptized October 15, 1581 , † April 1, 1649 in Madrid ) was a Spanish painter of the early Baroque .

Life

He was born in the city of Pastrana in 1581, the legitimate son of a merchant of the same name of Milanese origin and of his wife Ana de Figueredo, who came from Lisbon in Portugal .

Juan Bautista spent his youth in Madrid and at an unknown point in time, probably towards the end of the 16th century, moved to Italy, possibly first to Milan, where he could have got to know the works of the Brescia School , especially Girolamo Savoldo . A stay in Rome is also accepted, where he was able to get to know firsthand the revolutionary naturalism of Caravaggio and his students, but also the classical currents of Annibale Carracci and the Bolognese school.

Around 1608 he returned to Pastrana, where in 1611 he made several paintings for the Monasterio de Concepcionistas Franciscanas : a Trinity and an Encarnación . In the same year he was in Toledo , where he created some works for the cathedral that are now lost. 1612 he painted there for the Dominican convent of San Pedro Martir a cycle of paintings for the main altar of which today ten in the Museo del Prado in Madrid Museo del Prado are believed to be his masterpiece, and of which the Adoration of the Magi and the Adoration of the Shepherds are particularly well known and remarkable. He also painted allegorical frescoes in the church choir.

JB Maíno: Pentecost , oil on canvas, 285 × 163 cm. Museo del Prado, Madrid

On June 20, 1613, Maíno entered the Dominican Order and subsequently lived in the San Pedro Mártir Monastery in Toledo. In 1616 he went to Madrid, probably accompanied by Father Antonio de Sotomayor, where he was appointed confessor of the still young Infante Philip (IV) and at the same time his teacher in drawing and painting, with a salary of 200 ducats a year. At the behest of Father Sotomayor, he painted the altarpiece of St. Dominic in Soriano in the chapter house of the Atocha monastery where he lived, the original canvas of which has been lost; however, excellent handwritten copies have been preserved in various foreign museums.

In 1626 he entrusted Diego Velázquez with the execution of the painting of the expulsion of the Moors , for which a public tender had been carried out (the painting by Velázquez was lost in the fire of the Alcázar of Madrid in 1734). Maíno himself was called in 1635 to paint the history painting "The Reclamation of All Saints Bay" ( La recuperación de Bahía de Todos los Santos ) for the Salón de Reinos (Hall of the Kingdoms) in the Buen Retiro Palace (today in the Prado, Madrid) .

Jusepe Martínez assures that Maíno painted only a little, and not out of necessity, but for pleasure; Nevertheless, new works by him are constantly being discovered today, although many others are finally lost. Maíno was also known for making small images on copper, some of which have survived, such as depictions of Saint John the Baptist in the Cathedral of Malaga and in a private collection in Madrid. He also made miniature portraits, but his best surviving portraits of the lawyer Diego Narbona (Prado, Madrid) and a Dominican brother (Ashmolean Museum, Oxford) are not in this format.

Maíno died in the College and Convent of Santo Tomás in Madrid in 1649. Juan Ricci may have been a student of his.

plant

Maíno is one of the lesser known masters of Spanish painting. Until 1958, art critics considered him an Italian painter. Although Lope de Vega , Francisco Pacheco , Jusepe Martínez or Antonio Palomino showed great admiration for both his person and his painting, no important studies have been carried out on him so far (as of 2018). On the other hand, the fact that he is said to have relegated his artistic work to the second place after his entry into the Dominican Order in 1613 meant that his production was only estimated at around forty works.

Most of his work was devoted to religious subjects, but there are also some landscapes and miniatures. The influence of tenebrosome painting and naturalism from Caravaggio, but also from Gentileschi and Carlo Saraceni, is evident; Adam Elsheimer, but also Carracci and Domenichino, are seen as being influenced by his landscapes and miniatures. Maínos painting is characterized by strong sculptural figures, a drawing that tends to be somewhat hard, and bright, bright colors with a sometimes unusual color palette (e.g. shades of purple).

List of works:

  • St. John the Baptist (1608-10, Kunstmuseum Basel , Basel ), formerly attributed to Caravaggio.
  • Conversion of Paul (ca.1610, private collection, Madrid)
  • Conversion of Paul (ca.1614, MNAC , Barcelona )
  • Penitent Peter (before 1612, private collection, Barcelona)
  • Landscape with John the Baptist (before 1613, private collection, Madrid)
  • Landscape with the Penitent Mary Magdalene (before 1613, private collection, Madrid)
  • Frescoes of the Capilla Mayor of the Convento de San Pedro Mártir (1611–13, Toledo)
Adoration of the Magi , Prado, Madrid
  • Main altar of San Pedro Mártir in Toledo (1612-14, Museo del Prado , Madrid ):
    • Adoration of the Shepherds
    • Adoration of the three kings
    • Resurrection of Christ
    • Pentecost
    • John the Baptist in the desert
    • John the Evangelist on Patmos
    • Penitent Magdalena in the grotto of Sainte-Baume
    • San Antonio the Abbot in a Landscape
    • Santo Domingo de Guzmán (in the depot of the Museo Víctor Balaguer in Vilanova i la Geltru)
    • Santa Catherine of Siena (in the depot of the Vilanova i la Geltru Museum)
  • Retablo de la Anunciación (Museo del Prado)
  • Resurrection of Christ ( Old Masters Picture Gallery , Dresden )
  • Crucifixion (private collection, Zaragoza )
  • Presentation of the chasuble to San Ildefonso (whereabouts unknown)
  • Virgen de Belén (whereabouts unknown)
  • Adoration of the Shepherds (private collection)
  • Penitent Magdalena (1615, private collection, Geneva )
  • Pentecost (1615-20, Museo del Prado)
  • Portrait of a Caballero (1618-23, Museo del Prado)
  • Frescoes of the lower choir in the Convento de San Pedro Mártir (1620–24, Toledo)
  • San Jacinto (1620–24, San Pedro Mártir, Toledo)
  • Portrait of Philip IV (1623–25, Bavarian National Museum , Munich ), miniature, attribution doubtful.
  • Portrait of a Caballero (1625, Bavarian National Museum, Munich), miniature, attribution doubtful.
  • San Agabo (The Bowes Museum, County Durham )
  • Adoration of the Shepherds ( Hermitage , Saint Petersburg )
  • Adoration of the Shepherds ( Meadows Museum , Dallas )
  • Portrait of Archbishop José de Melo (Cabildo Catedralicio, Évora ), attribution doubtful.
  • Saint Dominic in Soriano (1629, Museo del Prado)
  • Saint Dominic in Soriano (1629, Hermitage, Saint Petersburg)
  • Altar of the Miranda family (around 1629, Colegiata de Pastrana):
    • Don Juan Miranda with San Francesco of Assisi
    • Doña Ana Hernández with John the Baptist
  • Recovering All Saints Bay in Brazil ( Recuperación de Bahía de Todos los Santos en Brasil ; 1634–35, Museo del Prado)
  • Portrait of a Dominican Monk (1635–40, Ashmolean Museum , Oxford )
  • Fray Alonso de Santo Tomás (1648–49, Museu Nacional d'Art de Catalunya, Barcelona)
  • Holy Family (Cathedral of Alcalá de Henares )
  • Picture gallery

  • Adoration of the Shepherds , Prado, Madrid

  • Portrait of a Dominican , Ashmolean Museum , Oxford

  • The recovery of All Saints Bay in Brazil in 1625 , Prado, Madrid

  • San Antonio Abad, Prado, Madrid

  • Adoration of the Shepherds , State Hermitage Museum , Saint Petersburg

literature

  • Francisco Cortijo Ayuso: "El pintor Juan Bautista Maíno y su familia". In: Wad-al-Hayara, V , Guadalajara, 1978, pp. 285-292.
  • Enriqueta Harris: "Aportaciones para el estudio de Juan Bautista Maíno",
  • Diego Angulo Íñiguez , Alfonso E. Pérez Sánchez: Historia de la pintura española. Escuela madrileña del primer tercio del siglo XVII , Madrid, Instituto Diego Velázquez, CSIC, 1969, pp. 299-325.
  • Antonio García Figar: "Fray Juan Bautista Maíno, pintor español", in: Goya, n.º 25 , Madrid, 1958, pp. 6-13.
  • Leticia Ruiz Gómez (ed.): Juan Bautista Maíno (1581-1649) , catalog of an exhibition in the Prado in Madrid, Museo Nacional del Prado, 2009. ISBN 978-84-8480-190-0
  • Revista Española de Arte, VIII , Madrid, 1935, pp. 333-339.
  • Alfonso E. Pérez Sánchez: “Sobre Juan Bautista Maíno”, in: Archivo Español de Arte , CCLXXVIII, Madrid, 1997, pp. 113–125.
  • Alfonso E. Pérez Sánchez: Pintura Barroca en España, 1600-1750 . Editorial Cátedra, Madrid ISBN 978-84-376-0994-2 , pp. 103-108.
  • Alfonso Rodríguez G. De Ceballos: "Maíno de Castro, Juan Bautista", short biography on the Prado website, online (last seen on September 24, 2018)

Web links

Commons : Juan Bautista Maíno  - collection of images, videos and audio files

Individual evidence

  1. ↑ a b c d e f g h i j k l m n o p Alfonso Rodríguez G. De Ceballos: “Maíno de Castro, Juan Bautista”, short biography on the Prado website, online , seen on September 24, 2018
  2. ↑ a b Short biography on the Prado website, online , viewed September 24, 2018
  3. ↑ Ficha de obra en el MNAC.
personal data
SURNAME Maíno, Juan Bautista
ALTERNATIVE NAMES Mayno, Juan Bautista; Maíno, Fray Juan Bautista; Maíno de Castro, Juan Bautista
BRIEF DESCRIPTION Spanish painter
DATE OF BIRTH baptized October 15, 1581
PLACE OF BIRTH Pastrana , Guadalajara Province
DATE OF DEATH April 1, 1649
Place of death Madrid