Valentina Bun
Saint Petersburg Academy of Arts, Russia
Claudio Coello (1642–1693) was the last local Spanish artist appointed the Court Painter (Pintor de Camara) in the 17th century. On the one hand, portraits by this artist represented the quintessence of the national Spanish court portrait. On the other hand, his artworks gave impulse to the development of the common European Baroque style of portraiture in Spain with its tendency towards glorious, pompous and decorative image.
In his first portraits of Charles II Claudio Coello followed the image template set by his predecessor Juan Carreno de Miranda. However, even these works display an inclination towards decorative aspects.
As an excellent colorist Coello was meticulous and attentive in rendering the fabrics of different cloth, though at times it aggravated the portrait’s integrity and strength of the impact.
Another step towards European Baroque painting appears to be the tendency to depict the sitter with refinement and certain ennoblement masking the uncomely drawbacks of the model.
Portraits by Claudio Coello make an appeal with the decorative vibe and colours rather than substantial contents and depth of character.
The last years of Coello’s life at the Court in Madrid saw the arrival of a successful Italian artist — Luca Giordano (1634–1705), the first foreigner in several decades to be appointed the court painter.
The appearance of Charles II in Giordano’s portraits became more and more refined and sophisticated. Gradually the Spanish portrait merged with the Italian and French traditions.
The style of the artist, profusion of allegories and idealization result in the Baroque portrait void of local features.
The artworks of the Italian painter started the new stage of the Spanish portrait, when the European painters took the upper hand at the Court. Meanwhile, the local tradition dissolved in unified European style of decorative court portraiture with France in the lead.