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Valdés was born in Seville in 1622. He became a painter, sculptor, and architect. By his twenties, he was studying under Antonio del Castillo in Córdoba.. Among his works are History of the Prophet Elias for the church of the Carmelites; Martyrdom of St. Andrew for the church of San Francesco in Córdoba; and Triumph of the Cross for la Caridad in Seville.
in ictu oculi, a vanitas by Juan de Valdés Leal for the Hospital de la Caridad (Seville).. The phrase in ictu oculi is a Latin expression meaning "in the blink of an eye". One source is from the Bible, in 1 Corinthians 15:52: "In momento, in ictu oculi, in novissima tuba", translated in the KJV as "In a moment, in the twinkling of an eye, at the last trump:" [1] where the Latin is itself a ...
Finis Gloriae Mundi is an oil painting made by Juan de Valdés Leal between 1670 and 1672, and along with In Ictu Oculi, both were commissioned by Miguel Mañara to be placed below the choir of the church in the Hospital de la Claridad in Seville. Its dimensions are 220 x 216 cm finishing in an arc on the top.
Juan de Valdés Leal, Finis gloriae mundi (1672). Seville, Hospital de la Caridad. Sic transit gloria mundi is a Latin phrase that means "thus passes the glory of the world". In idiomatic contexts, the phrase has been used to mean "fame is fleeting".
In the 20th century Apollinaire also wrote about him, while the brothers Manuel and Antonio Machado produced the play Don Juan de Mañara (1927). There is also a four-act opera with six music-frames by Henri Tomasi and a libretto adapted from Oscar Venceslas de Lubicz-Milosz 's play Miguel Mañara . [ 6 ]
Luisa Rafaela de Valdés Morales (1654 – after 1685), known as Luisa de Morales and Maria Luisa Morales, was a Spanish painter and engraver, and daughter and disciple of Juan de Valdés Leal. The current (2022) exhibition of her father's work at the Museo de Bellas Artes in Seville shows her completing some of his sculptures by adding finely ...
Examples of the impact of Flemish painting on the Spanish still life can be found in the flower paintings by Juan de Arellano and the Vanitas by Antonio de Pereda and Valdés Leal. Jusepe de Ribera's The Clubfoot, a typical raw portrayal of human weakness by Spanish artists; 1642, oil on canvas, 164 × 92 cm, Louvre.
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