克劳迪奥·Coello(2 1642年3月- 1693年4月20日)是一个西班牙语巴洛克式的画家。Coello被认为是17世纪的最后一个伟大的西班牙画家。

 

克劳迪奥·Coello圣福马,El堆渣场

的儿子Faustino Coello,一位著名的葡萄牙语雕塑家,他是一个宫廷画师为查理二世。他曾在许多教堂和公共建筑马德里,他最著名的作品圣器安置所的El堆渣场,这是充满了祭司和朝臣们的画像。

 

Coello苏珊娜y洛杉矶老城区博物馆德·德·庞塞,庞塞波多黎各,

克劳迪奥·Coello是葡萄牙的父母,但于1642年出生在马德里。他的艺术指导旧金山Rizi,虽然在学校的altar-piece执行圣普拉西多在马德里。他熟悉宫廷画师,胡安Carreno de米兰达,获得他的许可访问皇家收藏,他最大的进步通过研究的作品提香,鲁本斯,范戴克。同他之间的友谊何塞·希门尼斯Donoso他在罗马学习下,对他不是那么有利。结合,艺术家在马德里和托莱多他画壁画,并执行凯旋门入口的女王,玛丽亚·路易莎奥尔良。通过这些画他成为众所周知的,并被采用的大主教萨拉戈萨在1683年。他是画家查理二世他被雇佣堆渣场.

Coello是最后西班牙画家所知多年,从卢卡·佐丹奴被叫到西班牙,艺术沉没逐渐衰减。许多优秀的例子,他的工作是在教堂和修道院在马德里,萨拉戈萨,萨拉曼卡。但他的主要工作就是著名的圣器安置所的altar-piece圣洛伦佐堆渣场,代表的崇拜奇迹般的主机。”这是一个巨大的成分,并占领了画家七年。在人群中形成了队伍的人士,不少于50肖像,包括国王和法院的主要人员:涂上最大精度,然而在一个大胆的和精湛的风格,有一个宏伟庄严的安排,这适合主题的富丽堂皇。这是一个非常非凡的表现,甚至认为它的位置在提香、鲁本斯的作品。给卢卡·佐丹奴的偏好,1692年来到马德里,在绘画堆渣场的大楼梯,屈辱Coello,他死于1693年在马德里烦恼。

Coello蚀刻三个板块,即:“基督在十字架上,处女,圣奥古斯汀和圣莫尼卡,”的画像查理二世和他的母亲。他的教练塞巴斯蒂安·穆尼奥斯和特奥多罗·Ardmans.

 

Claudio Coello (2 March 1642 – 20 April 1693) was a Spanish Baroque painter. Coello is considered the last great Spanish painter of the 17th century.

 

La Sagrada Forma, by Claudio Coello, El Escorial

The son of Faustino Coello, a famous Portuguese sculptor, he was a court painter forCharles II. He worked on many churches and public buildings in Madrid, with his most famous work being in the sacristy of El Escorial, which is filled with portraits of priests and courtiers.

 

Coello's Susana y los viejos at Museo de Arte de Ponce, Ponce, Puerto Rico

Claudio Coello was of Portuguese parents, but was born at Madrid in 1642. He was there instructed in the art by Francisco Rizi, and executed while yet in that school an altar-piece for San Plácido at Madrid. His acquaintance with the court painter, Juan Carreño de Miranda, procured him the permission to visit the royal collection, where he made his greatest advance by studying the works of Titian, Rubens, and Van Dyck. His friendship with José Jiménez Donoso, under whom he studied at Rome, was not less advantageous for him. In conjunction with that artist he painted frescoes at Madrid and Toledo, and executed the Triumphal Arch for the entrance of the Queen, Maria Louisa of Orleans. By these paintings he became well known, and was employed by the Archbishop of Saragossa in 1683. He was made painter to Charles II, by whom he was employed in the Escorial.

Coello was the last Spanish painter of eminence for some years, as from the time that Luca Giordano was summoned to Spain, the art sank gradually to its decay. Many excellent examples of his work are to be seen in the churches and convents in Madrid,Saragossa, and Salamanca. But his principal work is the famous altar-piece in the sacristy of San Lorenzo, in the Escorial, representing the 'Adoration of the Miraculous Host.' It is an immense composition, and occupied the painter seven years. In the crowd of personages that form the procession, are no less than fifty portraits, including those of the king and the principal persons of the court: it is painted with the utmost precision, yet in a bold and masterly style, and there is a majestic solemnity in the arrangement of the whole, which suits well to the grandeur of the subject. It is a very extraordinary performance, and holds its place even by the side of the works of Titian and Rubens. The preference which was given to Luca Giordano, who came to Madrid in 1692, in painting the grand staircase in the Escorial, mortified Coello so much that he died of vexation at Madrid in 1693.^{[citation needed]}