During the first years of her life received important commissions for churches and individuals, performing works such as the Annunciation and the nuptials of Santa Catalina, in 1633, La Magdalena penitente, of 1654, SAn Sebastián in 1656 and the Foundation of the order of 1666 Trinity, all of them influenced by the Baroque dynamism.
In their wall paintings, the taste is accentuated by the scenographic effects, in 1665 made in collaboration with Francisco Ricci the decoration of the vault of the camarín de la Virgen del Sagrario in Toledo Cathedral. Although between his mural work excels decoration of the Hall of mirrors in the Alcázar, supervised by Velázquez.
In 1669 he/she was named painter of the King and in 1671 elected Chamber painter. Your portraits will be witness to the grim Palatine Court. In its portrait of the sickly Carlos II, not reduces the unpleasant appearance of the monarch, or the portrait of Doña Mariana mother of the monarch, the Frailes appearance.
His work warns a constant influence of the work of Velázquez, above all in the lighting studies, and in the use of some issues such as the portrait of the dwarf Martínez Vallejo, whom he/she Immortalizes dressed and naked. It also makes portraits within the courtly scope such as the Duke of Pastrana and Pedro Potemkin.
Together with Francisco Rizi performs the final step towards full baroque painting, taking models of Rubens, present in the Royal collections, and especially in the decoration of the Tower of the stop, and transporting to the religious world, the dynamism and the exuberance of color of the master.
AYALA MALLORI, N.: from el Greco to Murillo: Spanish painting of the century of gold (1556-1700). Madrid, Alianza, 1991.
BROWN, j.: Images and ideas in 17TH-century Spanish painting. Madrid, Alianza, 1995.
PÉREZ SÁNCHEZ, a.: Carreño, Ricci, Herrera and Madrid painting of its time. Madrid, 1986.
Pérez Sánchez, A.E.: Baroque painting in Spain. Madrid, Cátedra, 1992.