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shadow. His portraits are noted for the meticulous detail of representing the intricate embroidery of dresses and jewelry designs. The subject is usually portrayed standing against a dark background. The face and hands are depicted with a more flat and subtle technique. Among his portraits are: Philip III, Queen
Margarita of Austria, 1606, Prado, Madrid). Infanta Isabel Clara Eugenia (1599),
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The quality of individual portraits is variable; they were often produced in many versions with varying degrees of help from his assistants. In his best works, Pantoja introduced an impressive combination of sophistication and geometric abstraction achieved by means of powerful contrast of light and
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Pantoja besides scoring a great success as the foremost portraitist of his time, was a highly versatile painter at home in all genres. Thus, he supplied the
Spanish court and the aristocracy with religious paintings, mythological canvases, and historical compositions. Pantoja's religious paintings
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and he must have assisted his master in complying with his duties as painter of the
Spanish King, Philip II. Pantoja probably continued to work in his master studio after completing his training. He married in 1585 beginning to paint for the court around that time. After Sanchez Coello's death in
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Pantoja himself continued the tradition. His art was severely criticised by historians who were prejudiced against non-Italian portraiture and therefore dismissed him as an "uninspired, dull" though "painfully hard-working" painter at the court of Philip III. The compositional formula of
273:'s Orlando Furioso, Lope de Vega couched his praise in the following couplet: "Juan de la Cruz que si criar no pudo / Dio casi vida y alma a un rostro mudo;" and Quevedo extolled Pantoja's work as a miniaturist in the poem "El Pincel", written in 1615, seven years after Pantoja's death.
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Juan
Pantoja de la Cruz was held in high esteem as an animal painter; was also known as a landscape and still life painter who exploited the new secularized art forms that spread across Europe at the close of the sixteenth century. Acclaimed as a gifted artist by contemporary writers,
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Pantoja kept working for the court and the nobility, painting portraits of Prince Philip, the future Philip III, in 1592 and 1594. Among his most well known works is the portrait of Philip II wearing a cape and hat all in black, painted around 1594 for the
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Juan
Pantoja de la Cruz painted a great number of state portraits with the combined forces of his studio, his attendants, apprentices, and collaborators. He was primarily a portrait painter to the royal family, (whom he accompanied on journeys to
149:. This portrait is one of the best representations of the idea of Spanish majesty, based on the remoteness of the monarch. On Philip II's death in 1598, Philip III confirmed Pantoja's status as court painter. When the court settled in
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are executed with a more realistic and dramatic style than his portraits. They range from a coldly distant academicism to a more advanced
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have left eloquent evidence of their admiration for
Pantoja. In La hermosura de Angelica (1602), an imitation of
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104:(1553 – 26 October 1608) was a Spanish painter, one of the best representatives of the Spanish school of
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of royal portraits, going back to the famous portrait of
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