MARTÍNEZ, Jusepe

Spanish painter, engraver and writer. He was a son of the Flemish painter Daniel Martínez (d. 1636), with whom he first trained, following late Mannerist trends. In 1623 he went to Italy, and in 1625 he was in Rome, where he met Guido Reni, Domenichino and, shortly afterwards in Naples, Jusepe de Ribera. This contact with Italian classicism and naturalismGLOSSARYGeneric term for scientific positions supported by natural insights. In fine arts and literature between approximately 1870 and 1900, Naturalism tried to reproduce the reality comprehended through sensory experience as realistically as possible, i.e. without idealising the object, but with scientific precision. In contrast to Realism, which was also based on the accurate description of natural occurrences, Naturalism concerns itself with the sensual dimensions of observation, whereby questions of morality and social criticism come to the fore. The spokesman for literary Naturalism was Emile Zola, who believed the artistic methods provided evidence of human existence. influenced his work, and he always maintained a preference for classicalGLOSSARYRelating to the culture of ancient Greece and Rome (classical Antiquity). The classical world played a profoundly important role in the Renaissance, with Italian scholars, writers, and artists seeing their own period as the rebirth (the "renaissance") of classical values after the Middle Ages. The classical world was considered the golden age for the arts, literature, philosophy, and politics. Concepts of the classical, however, changed greatly from one period to the next. Roman literature provided the starting point in the 14th century, scholars patiently finding, editing and translating a wide range of texts. In the 15th century Greek literature, philosophy and art - together with the close study of the remains of Roman buildings and sculptures-expanded the concept of the classical and ensured it remained a vital source of ideas and inspiration. balance and structure. He combined this with chromatic tones and a chiaroscuroGLOSSARYIn painting, the modelling of form (the creation of a sense of three-dimensionality in objects) through the use of light and shade. The introduction of oil paints in the 15th century, replacing tempera, encouraged the development of chiaroscuro, for oil paint allowed a far greater range and control of tone. The term chiaroscuro is used in particular for the dramatic contrasts of light and dark introduced by Caravaggio. When the contrast of light and dark is strong, chiaroscuro becomes an important element of composition. that became progressively softer.

The extensive documentation on Martínez deals only intermittently with his paintings, and it is not always possible to trace his stylistic development. His earliest recorded work is the series of five engravings on the Life of St Pedro Nolasco (c. 1625), which were engraved in Rome by Johann Friedrich Greuter (d. 1662) after Martínez's drawings (untraced). In 1627 he returned to Saragossa and in 1632, together with Juan Galván (d. 1658), he was nominated by the Diputación de Aragón to examine the copies of portraits of the kings of Aragon made for Philip IV. Also about 1632 he entered the circle of the collector Vincencio Juan de Lastanosa, to whom he sent some engravings, perhaps the series on the Life of St Pedro Nolasco.

In 1634 Martínez travelled to Madrid, where he came into contact with Eugenio Cajés, Francisco Pacheco and Alonso Cano. Treating the same subject as in his earlier engravingGLOSSARYA print made from a metal plate that has had a design cut into it with a sharp point. Ink is smeared over the plate and then wiped off, the ink remaining in the etched lines being transferred when the plate is pressed very firmly onto a sheet of paper. series, in 1635-40 he painted St Pedro Nolasco (Saragossa, Museo Provincial de Bellas Artes), though the dating is uncertain. His relationship with the Court was renewed when Philip IV visited Catalonia and stayed in Saragossa in 1642, accompanied by Diego Velázquez. Martínez was nominated Pintor del Rey ad honorem in 1643 and entrusted with the artistic education of Don Juan José de Austria. Velázquez became friendly with Martínez and occasionally used his workshop.