Little is known about the training of Eugenio Lucas Velázquez, though he is known to have studied at the Academy of San Fernando where he himself said his master was José de Madrazo. He must also have trained at the Prado, where he may have studied the works of Velázquez in depth, to judge from his style and the themes that he chose throughout his career. He also learned from the works of Goya. Indeed, his name has always been linked to that of Goya, as many of his works are based on the latter's paintings and engravings, and his technique is very similar to the light, free brushstrokes found in some of Goya's works. Indeed, works long attributed to Goya are now classed by experts as certainly painted by Lucas. His style was characterised by great interest in highlighting the picturesque, which makes him one of Spain's most interesting and original exponents of Romantic landscape painting. His close links with Goya in terms of both technique and themes makes him one of the clearest exponents of the desire to recognise a national tradition and frame his work in response to it. But he also took an interest in events outside Spain. His works denote a profound knowledge of English Romantic landscape painting and of the works of Delacroix.
In spite of his political ideas, which led him to enlist in the National Militia in 1843, Lucas carved out a prestigious career for himself, aided in no small way by the quality of his portraits and the extraordinary variety of genres and topics that he covered. He was a prolific, imaginative landscape artist, he took a strong interest in 'costumbrist' and historical scenes and he combined the two repertoires on many occasions and produced dramatised, literature-influenced landscapes as backdrops for exotic, historical, picturesque themes. He cultivated a group of customers who were very receptive to scenes of mysterious landscapes, popular customs, risks, dramas and passions, i.e., all the ingredients needed to feed a romantic imagination.
Proof of the popularity of his paintings among people with very different interests can be found in the fact that he was commissioned to paint the ceiling of the Teatro Real theatre in 1850 and appointed honorary court painter the following year. He also received excellent reviews from Gauthier for two paintings that he showed at the Paris Expo of 1855.
Little is known about the training of Eugenio Lucas Velázquez, though he is known to have studied at the Academy of San Fernando where he himself said his master was José de Madrazo. He must also have trained at the Prado, where he may have studied the works of Velázquez in depth, to judge from his style and the themes that he chose throughout his career. He also learned from the works of Goya. Indeed, his name has always been linked to that of Goya, as many of his works are based on the latter's paintings and engravings, and his technique is very similar to the light, free brushstrokes found in some of Goya's works. Indeed, works long attributed to Goya are now classed by experts as certainly painted by Lucas. His style was characterised by great interest in highlighting the picturesque, which makes him one of Spain's most interesting and original exponents of Romantic landscape painting. His close links with Goya in terms of both technique and themes makes him one of the clearest exponents of the desire to recognise a national tradition and frame his work in response to it. But he also took an interest in events outside Spain. His works denote a profound knowledge of English Romantic landscape painting and of the works of Delacroix.
In spite of his political ideas, which led him to enlist in the National Militia in 1843, Lucas carved out a prestigious career for himself, aided in no small way by the quality of his portraits and the extraordinary variety of genres and topics that he covered. He was a prolific, imaginative landscape artist, he took a strong interest in 'costumbrist' and historical scenes and he combined the two repertoires on many occasions and produced dramatised, literature-influenced landscapes as backdrops for exotic, historical, picturesque themes. He cultivated a group of customers who were very receptive to scenes of mysterious landscapes, popular customs, risks, dramas and passions, i.e., all the ingredients needed to feed a romantic imagination.
Proof of the popularity of his paintings among people with very different interests can be found in the fact that he was commissioned to paint the ceiling of the Teatro Real theatre in 1850 and appointed honorary court painter the following year. He also received excellent reviews from Gauthier for two paintings that he showed at the Paris Expo of 1855.