206:; prints dedicated to religious life included in the work of Juan de Palma, "Vida de la sereníssima infanta sor Margarita de la Cruz, religiosa descalza de Sta. Clara" (Life of the most serene Infanta Sister Margarita de la Cruz, barefoot nun of Sta. Clara), printed in Madrid, 1636, in the Royal Printing Office, with a front cover print representing the nun, accompanied by allegories of
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Zarco del Valle, published Perete's death certificate, believing it to be the father's. He also assigned the son's works to the father; the confusion of identities was carried on by Barrio Moya in 1982, and even at later dates the error was found
139:" ("with the charge of teaching his art with all perfection to a son of his who has begun to learn it"). His father's death in 1625 left the family impoverished as Perete and his sister Josefa had to ask the king for assistance.
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111:. Perete Hispanicized the family name from the Dutch "Perret". Many of his works have been attributed to or confused with those by his father.
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172:(Discussion on the True Designation of Natural and Legitimate Offspring), with the portrait of the author and allegorical verses by
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DISPUTATIO DE VERA NATURALIS ET LEGITIMI PARTUS DESIGNATIONE... ALPHONSI A CARANZA / Don Iuan de
Iauregui inventor Matriti Anno 1628
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by Juan
Antonio de Tapia y Robles, printed in Madrid in 1638, and engraved a portrait of the Count-Duke of Olivares made by
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His earliest known works date from 1628, the allegory of the portraits of Philip I, Charles V, and Philip II drawn by
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184:, printed in Madrid in 1634, with the portrait of the author on the cover. Based on that engraving, art historian
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Of his work as a painter, only two canvases are known to exist. The first is a portrayal of the parable of the
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identified Mateos as the model of an unfinished portrait of a gentleman cut below the waist painted by
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and an interior illustration representing a "cloth of wild boar", executed by means of a drawing by
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and Isabel de Faria, it is believed he was born in Madrid in 1610, where his father was working for
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Aportaciones a la biografía de Juan Mateos, ballestero mayor de Felipe IV, retratado por Velázquez
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con cargo de enseñar su arte con toda perfección a un hijo suyo que ha empezado a aprenderla
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Diccionario histórico de los más ilustres profesores de la Bellas Artes en España
176:. His best-known work, which he signed as an engraver, are the illustrations of
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Zarco del Valle-Conde las Navas (Espinosa
Quesada), "Pedro Perret (1555-1639)"
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Pedro de
Villafranca y Malagón, pintor y grabador manchego del siglo XVII
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File:Rubens - Portrait of El Conde - Duque de
Olivares 64.11.24-1680.jpg
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518:(in Spanish). Vol. IV. Madrid. pp. 87–93. Archived from
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in Madrid. His successor as the king's engraver was his pupil,
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1610 – 8 April 1639) was a seventeenth-century
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Disputatio de vera naturalis et legitimi partus designatione
222:, inspired by one of Velázquez's portraits of the monarch.
581:(in Spanish). Vol. I. Madrid. 1899. pp. 582–587.
237:, engraved eighteen busts of the heroes published in the
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In his later years he reverse-engraved the portrait of
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127:. In 1622, the elder Perret received from
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107:. He was the son, and pupil, of engraver
456:. Asociación Cultural. pp. 107–122.
283:), the first signed by P. Peret, in the
604:CS1 maint: location missing publisher (
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309:He died in Madrid on 8 April 1639, on
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512:Ceán Bermúdez, Juan Agustín (1800).
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48:8 April 1639 (aged 28–29)
180:(Origin and Dignity of Hunting) by
320:, and was buried in the parish of
239:Ilustración del renombre de Grande
164:, and the cover and front page of
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539:(in Spanish). Ediciones Cátedra.
487:. Vol. 13. pp. 107–122.
561:(in Spanish). Colonia, Taschen.
481:Barrio Moya, José Luis (1982).
450:Barrio Moya, José Luis (1998).
537:Historia del grabado en España
393:Ceán Bermúdez, 1800, pp. 87–93
1:
638:17th-century Spanish painters
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178:Origen y dignidad de la caça
436:Barrio Moya, 1982, page 107
659:
535:Gallego, Antonio (1999).
381:Zarco del Valle, page 586
559:Velázquez. Obra completa
103:engraver and painter in
266:Lázaro y el rico Epulón
280:Resurrección de Lázaro
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227:Count-Duke of Olivares
200:Count-Duke of Olivares
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322:St Sebastian's Church
293:Church of the Saviour
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643:Painters from Madrid
326:Pedro de Villafranca
257:rich man and Lazarus
218:, and a portrait of
623:16th-century births
287:or "area below the
229:originally made by
204:Francisco Collantes
311:Calle del Príncipe
271:Raising of Lazarus
151:
628:Spanish engravers
568:978-3-8365-5014-7
427:Barrio Moya, 1998
372:Gallego, page 165
155:Cornelius de Beer
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304:Herrín de Campos
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233:and engraved by
174:Juan de Jáuregui
166:Alfonso Carranza
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59:Other names
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243:Herman Panneels
195:Don Juan Mateos
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131:a grant of 200
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16:Spanish painter
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524:. Retrieved
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121:Peter Perret
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109:Peter Perret
93:Pedro Perete
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85:Peter Perret
67:Pedro Perret
25:Pedro Perete
18:
633:1639 deaths
595:|work=
501:|work=
470:|work=
402:Lopez, 2014
329: [
314: [
296: [
246: [
182:Juan Mateos
158: [
119:The son of
617:Categories
360:References
269:) and the
186:Carl Justi
125:Philip III
115:Background
73:Occupation
597:ignored (
587:cite book
526:16 August
503:ignored (
493:cite book
472:ignored (
462:cite book
352:repeated.
291:" of the
220:Philip IV
190:Velázquez
146:Cover of
129:Philip IV
557:(2014).
285:sotacoro
76:Engraver
276:Spanish
262:Spanish
215:Oración
209:Pobreza
101:Baroque
63:Spanish
34:c. 1610
565:
543:
231:Rubens
133:ducats
105:Madrid
81:Father
52:Madrid
38:Madrid
339:Notes
333:]
318:]
300:]
289:choir
250:]
162:]
606:link
599:help
563:ISBN
541:ISBN
528:2020
505:help
474:help
212:and
168:'s,
45:Died
31:Born
302:in
95:, (
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273:(
259:(
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