Juan Antonio de Frias y Escalante. Juan Antonio de Frías Escalante or, as he signed, Juan Antonio Escalante was a Spanish Baroque painter of the Golden Age.
At a very young age, he settled in Madrid where he was a disciple of Francisco Ricci, with whom he maintained a close relationship, becoming his testamentary executor. Despite his early death, he developed an important career working almost exclusively for the Court's churches and convents.
An admirer of Venetian painting by Tintoretto and Veronese, as Palomino observed, who called him a follower of that style in composition and "grace of attitudes", he was also indebted to Van Dyck, in addition to making frequent use of prints Flemish paintings copied with hardly any variations, as in the Conversion of San Pablo in the Cerralbo Museum, based on an engraving bySchelte à Bolswert on a composition by Rubens, or on the attributed Andromeda in the Museo del Prado, a copy of a print by Agostino Carracci, with the only significant difference being the dress that covers the maiden, hiding the nudity of the original model. But the most direct and constant influence received by Escalante could be the intimate and classical work of Alonso Cano, interpreted with great sumptuousness and clarity of light, as could be seen in the Annunciation of the Hispanic Society of America, dated 1663, very similar in composition and style in which the man from Granada painted for t
At a very young age, he settled in Madrid where he was a disciple of Francisco Ricci, with whom he maintained a close relationship, becoming his testamentary executor. Despite his early death, he developed an important career working almost exclusively for the Court's churches and convents.
An admirer of Venetian painting by Tintoretto and Veronese, as Palomino observed, who called him a follower of that style in composition and "grace of attitudes", he was also indebted to Van Dyck, in addition to making frequent use of prints Flemish paintings copied with hardly any variations, as in the Conversion of San Pablo in the Cerralbo Museum, based on an engraving bySchelte à Bolswert on a composition by Rubens, or on the attributed Andromeda in the Museo del Prado, a copy of a print by Agostino Carracci, with the only significant difference being the dress that covers the maiden, hiding the nudity of the original model. But the most direct and constant influence received by Escalante could be the intimate and classical work of Alonso Cano, interpreted with great sumptuousness and clarity of light, as could be seen in the Annunciation of the Hispanic Society of America, dated 1663, very similar in composition and style in which the man from Granada painted for t
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