Acislo Antonio Palomino

ACISLO ANTONIO PALOMINO Y VELASCO (Bujalance, Cordoba, 1655 - Madrid, 1726).
"Sketch of dome".
Oil on canvas. Relined.
Work reproduced in: Palencia, J. Mª. The splendor of the Andalusian Baroque. Córdoba 2007 p. 106 and Palencia, J. Mª. Espíritu barroco. Burgos 2008 p. 152.
It presents restorations and Repainting on the pictorial surface.
It has a 20th century frame.
Measurements: 67.5 x 91.5 cm; 82 x 107 cm (frame).
Sketch for dome in which you can appreciate the delicate work of perspective created by the artist to optimize the vision of the faithful. Adapted to the format, it is possible to appreciate a whole celestial court dominated by a break of Glory, crowned in the center with the dove of the Holy Spirit. Below him God the Father and Jesus in red tunic are represented in a plane followed by the presence of the praying Virgin, St. Joseph and a court of martyr saints. Aesthetically the work is very reminiscent of Palomino's work for the dome of the tabernacle in the Dome of the Charterhouse in Granada, where several angels and saints are portrayed with St. Bruno holding the world with his shoulders.
Spanish painter and treatise writer, initially trained in Cordoba under the direction of Juan de Valdes Leal while studying humanities. With the protection of Juan de Alfaro, a disciple of Velázquez, who was working at the Madrid court, in 1678 he traveled to Madrid. There he was introduced into the circle of Juan Carreño de Miranda and Claudio Coello, who brought him into contact with the Royal Collections and gave him the opportunity to collaborate in some works, such as the decoration of the room of Queen Maria Luisa de Orleans, first wife of Charles II, and the cierzo gallery, both in the Royal Alcazar. These works allowed him to obtain the title of painter to the King in 1688. Luca Giordano's arrival in Madrid in 1692 made him interested in learning the fresco technique, becoming one of the most important Spanish fresco painters of the second half of the 17th century. He collaborated in the preparation of the vaults of El Escorial and those of the old oratory of the Madrid City Hall. Between 1697 and 1701 he worked in Valencia, painting the vaults of the church of Santos Juanes and the basilica of Nuestra Señora de los Desamparados. In 1705, he traveled to Salamanca where he executed the Triumph of the Church for the choir of the church of San Esteban (in situ). Between 1712 and 1713, he painted eight canvases with scenes and saints related to the history of the city of Cordoba for the chapel of Cardinal Salazar and for the main altar of the Cathedral, both in that city. Between 1723 and 1725, he worked on his last work before his death, the decoration of the sacrarium of the Carthusian monastery of El Paular in Granada. Ordained a priest when he became a widower in 1725, he is known more for his facet as a writer and theoretician than as a painter, due to the publication of three volumes that, grouped under the title of "The pictorial museum and optical scale", deal with The theory of painting (1715), The practice of painting (1724) and The Spanish parnassus picturesque laureate (1724). The latter consists of two hundred and twenty-six biographies of painters and sculptors who worked in Spain and constitutes a fundamental literary source for the study of the history of Spanish art of that period.