Obituary for Frank Pacheco | Smith Family Funeral Homes

Obituary

Frank Pacheco, 76, of North Little Rock passed away Sunday, July 21, 2019. He was born July 11, 1943 in Methuen, Massachusetts to Frank and Ida Massimeno Pacheco. He served in the United States Air Force and retired from AFCO. Frank loved fishing, spoiling his grandchildren, traveling and enjoyed eating good food. He was a Boy Scout as a child, a Scout Master for his sons and a member of Our Lady of Good Counsel Catholic Church.

Frank was preceded in death by his parents; brother, Tony Pacheco; and wife and the mother of his children, Frances Norris Pacheco. He is survived by his sons, Mike Pacheco and Scotty Pacheco and wife Leann; grandchildren, Zachary and his wife Lauren, Nicholas and his wife Kelly, Jacob, Joshua, Jordan, and Ella; great-grandchildren, Jonathan and Mitchell; his wife, Mary Pacheco and her children, Keith Leftwich and Kathy Haralson; grandchildren, Dakota, Julie and Brenden; great-grandson Grayson; his sister, Ann Marie Trask and husband Robert; sisters-in-law, Bennie Stoner, Paula Pacheco; and his nieces and nephews, Angelia, Katelyn, Kyle, Cassidy, Chelsea and Timothy.

A visitation will be from 10:00 to 11:00 a.m., followed by a memorial service at 11:00 a.m., Wednesday, July 24, 2019 at Smith – North Little Rock Funeral Home Chapel.

To send flowers to Frank’s family, please visit our floral section.

Services

Visitation

Wednesday
July 24, 2019

10:00 AM to 11:00 AM

Smith-North Little Rock Funeral Home

1921 Main Street

North Little Rock, AR 72114

Memorial Service

Wednesday
July 24, 2019

11:00 AM

Smith-North Little Rock Funeral Home

1921 Main Street

North Little Rock, AR 72114

Source

Francisco Pacheco Example For Students – 602 words

http://artscolumbia.org/

Biography

To begin with, Francisco Pacheco is considered to be one of the most prolific Spanish artists. At present, his works of art enjoy a great popularity among the representatives of Spanish culture. What is more, his artistic legacy that includes a significant number of amazing artworks is appreciated across the whole globe.

First of all, it is a common knowledge that Francisco Pacheco was born in Sanlucar de Barrameda in the Spanish province of Cadiz in 1564. In 1580, Pacheco was forced to leave his hometown and move to Seville where his uncle lived. The interesting thing that should be mentioned is the fact that his uncle was a monk in the Cathedral. In accordance with the biography of Francisco Pacheco, he worked as the apprentice for Luis Fernández, who was not a significantly known artist. During his apprenticeship, Pacheco attempted to copy the artworks of the gifted Italian Renaissance masters.

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In 1611, Francisco Pacheco got an opportunity to visit Madrid and Toledo. During this trip, the artist studied the works of art of El Greco who is known as Doménikos Theotokópoulo, a well-known master of Spanish painting. When Pacheco got such a significant experience, he managed to open his art academy in Seville.

The last but not least thing that should be mentioned is the fact that his artistic legacy was highly influenced by the events that took place in Spain during that time. All these events were caused by the Inquisition that also took place in the artist’s hometown. Francisco Pacheco passed away in 1644.

Key Ideas in Painting

As it was mentioned above, Francisco Pacheco was a famous censor of the Inquisition in Seville. This is the main reason why the major part of his artworks has a religious nature. Apart from that, this prolific painter was known for his humanistic values. As a result, Pacheco was considerably famous among the various circles of the poets.

Regarding his works of art, Pacheco’s style is regarded as the Mannerism. However, the majority of the researchers claims that a number of his paintings includes some elements of the Italian art. In turn, the others state that a lot of elements of the Flemish art can be found in the works of this painter.

Main Works of Art of Pacheco

Francisco Pacheco was not only a gifted painter but also a great theorist that published some materials related to the area of art. Such publications include some theoretical issues as well as the articles relative to the history of the art. A list of the artist’s major works includes Arte de la Pintura or ‘Art of Painting’, ‘The Last Judgment’, and ‘Martyrs of Granada’.

http://artscolumbia.org/Arte de la Pintura

One of the most famous writings is Arte de la Pintura that was edited by Simon Fajardo and introduced to the society in 1649 after the death of the original artist. Generally speaking, Arte de la Pintura consists of three books. While the first two books are focused on the theoretical points, the third publication is related to the particular technical aspects of art.

At present, this book is considered to be one of the best collections of the Spanish Baroque Art.

http://artscolumbia.org/The Last Judgment

First of all, The Last Judgment is considered to be one of the key drawings of this famous Spanish artist. It was introduced to the society in 1614.

http://artscolumbia.org/Martyrs of Granada

Martyrs of Granada is another famous painting that contributed to such a great popularity of this Spanish artist. This painting is the imitative and rigid work of art that is known for the majority of art lovers.

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Frank Pacheco from Pueblo, Colorado

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Art Exhibitions

Art Exhibition 2011 – University of Technology Sydney

An Art Exhibition and Recital of Poetry by Francisco Pacheco was held from 4th November to 12th November 2011 at the Faculty of Arts and Social Sciences, UTS Sydney.

This exhibition was opened by the Dean of the Faculty and the Consul General of Portugal in Sydney with a percentage of the sales on the opening night being donated to Cancer Council NSW.

Art Exhibition 2013 – Consulate of Portugal Sydney

Another Art Exhibition and Recital of Poetry by Francisco Pacheco was held from 20th September 2013 to 30th January 2014 at the Consulate General of Portugal in Sydney.

This exhibition was opened by the Consul General of Portugal in Sydney, Sofia Batalha, the Ambassador of Portugal in Australia, Paulo Cunha Alves and his spouse Filomena Cunha Alves. This Event was supported by Susana Teixeira Pinto, the representative of the Camoes Institute in Sydney.

Above – The artist Francisco Pacheco (his artwork in the background) with the Consul of Brazil in Sydney

Art Exhibition 2016 – Portuguese Ethnographic Museum of Australia

Another Art Exhibition by Francisco Pacheco was held from 5th June 2016 at The Portuguese Museum in Sydney.

Art Exhibition 2016 – Kooindah Waters Spa and Golf Resort

Francisco Pacheco also exhibited at the Kooindah Waters Spa & Golf Resort from 25th June until August in the Central Coast of NSW.

Art Exhibition 2016 – The Art House Wyong

Art Exhibition 2017 – Consulate of Portugal in Sydney

Art Exhibition 2017 “Homage to the French Impressionists”

Mercure Kooindah Resort Wyong

Source

Francisco Pacheco in New Jersey | 26 Records Found

Francisco J Pacheco, 43

Resides in Wayne, NJ

Lived InNew York NY, Paterson NJ

Related ToLili Pacheco, Cira Pacheco, Victoria Pacheco, Victori Pacheco, Henry Pacheco

Includes Address(7) Phone(1) Email(1)

Francisco J Pacheco, 71

Resides in Paterson, NJ

Lived InWayne NJ, New York NY

Related ToLili Pacheco, Cira Pacheco, Victoria Pacheco, Victori Pacheco, Henry Pacheco

Also known asFrancisc V Pacheco, Pacheco Francisco, Franci Pacheco

Includes Address(8) Phone(2) Email(5)

Francisco J Pacheco, 36

Resides in Everett, WA

Lived InLake Stevens WA, East Rutherford NJ, Swiftwater PA, Cresco PA

Related ToXavier Pacheco, Michelle Pacheco, Cynthia Pacheco, Roberto Pacheco

Includes Address(10) Phone(5) Email(4)

Francisco J Pacheco, 44

Resides in West Orange, NJ

Lived InMahwah NJ, Teaneck NJ, Paterson NJ, Haledon NJ

Related ToPatricia Pacheco, Roberto Pacheco, Frozan Pacheco

Also known asFrank J Pacheco

Includes Address(10) Phone(6) Email(7)

Francisco Pacheco, 61

Resides in Newark, NJ

Related ToSalvador Pacheco, Jannett Pacheco, Valentin Pacheco, Petronila Pacheco, Frances Pacheco

Includes Address(1)

Francisco Pacheco, 82

Resides in Hackensack, NJ

Lived InBrooklyn NY

Related ToFrank Pacheco, Wolfram Pacheco, Lily Pacheco, Jeffrey Pacheco, Aoife Pacheco

Also known asFrancesco Pacheco, F Pacheco

Includes Address(3) Phone(2) Email(1)

Francisco O Pacheco, 63

Resides in Hackensack, NJ

Related ToRaymond Pacheco, Michael Pacheco, Luz Pacheco, Christine Pacheco

Also known asF Pacheco

Includes Address(1) Phone(2)

Francisco L Pacheco, 50

Resides in East Brunswick, NJ

Lived InTrenton NJ, Plainsboro NJ, Brooklyn NY

Related ToNidia Pacheco, Rafaela Pacheco

Also known asF Tacheco, Pacheco Francisco, Frank L Pacheco, Fransisca Pacheco, F Pacheco

Includes Address(8) Phone(5) Email(3)

Francisco Josi Pacheco, 62

Resides in Parlin, NJ

Lived InNewark NJ, Union NJ, Elizabeth NJ

Related ToTeresa Pacheco, Monica Pacheco

Also known asFrank Pacheco, F J Pacheco

Includes Address(4) Phone(5) Email(3)

Francisco I Pacheco, 66

Resides in Rahway, NJ

Lived InElizabeth NJ, Elizabethport NJ

Related ToTashi Pacheco, Nilsa Pacheco

Also known asFrancisc Pacheco, Francisco Pacheo, F Packeco, F Pacheco, Francisco Pachelo, Pacheco Francisco

Includes Address(8) Phone(6) Email(8)

Francisco Sco Pacheco

Resides in Woodbridge, VA

Lived InHewitt NJ

Related ToEdmundo Pacheco, Esther Pacheco, Yolanda Pacheco, Irene Pacheco

Includes Address(3) Phone(2)

Francisco Pacheco, 53

Resides in Beach Haven, NJ

Lived InSan Diego CA

Related ToJose Pacheco, Fransisca Pacheco, Deanea Pacheco, Kevin Pacheco

Also known asFrancisco Pach Iriarte

Includes Address(3) Phone(3)

Francisco J Pacheco, 52

Resides in Hackensack, NJ

Related ToFrank Pacheco

Includes Address(1) Phone(2) Email(1)

Francisco Pacheco, 51

Resides in New Brunswick, NJ

Includes Address(1) Phone(1)

Francisco Pacheco, 56

Resides in Beach Haven, NJ

Includes Address(1) Phone(1)

Francisco Pacheco

Resides in Buffalo, NY

Lived InNewark NJ

Includes Address(2)

Francisco Pacheco

Resides in New Brunswick, NJ

Includes Address(2)

Francisco Pacheco, 51

Resides in Edison, NJ

Lived InPanorama City CA, North Hollywood CA, Hilo HI, North Hills CA

Related ToCynthia Pacheco, Mariana Pacheco, Trust Pacheco, Cathleen Pacheco, Evelyn Pacheco

Also known asFrancis I Pacheco, Pacheco Francisco

Includes Address(15) Phone(3) Email(5)

Xavier Francisco Pacheco, 56

Resides in Everett, WA

Lived InNew York NY, Cresco PA, Swiftwater PA, Hackensack NJ

Related ToMonica Pacheco, Frank Pacheco, Luis Pacheco

Also known asFrancisco Pacheco, F Pacheco, Francisco Pachec

Includes Address(15) Phone(6) Email(5)

F Pacheco, 75

Resides in Newark, NJ

Lived InBelleville NJ, Buffalo NY

Related ToFrances Pacheco

Also known asFrancisco Pacheco

Includes Address(6) Phone(1)

Francisco Pach Iriarte, 46

Resides in San Diego, CA

Lived InBeach Haven NJ

Related ToMaria Pacheco, Jose Pacheco, Deanea Pacheco, Kevin Pacheco

Also known asFrancis Pacheco, Francisco P Pacheco

Includes Address(3) Phone(3) Email(1)

Frank Pacheco, 71

Resides in Hackensack, NJ

Lived InPassaic NJ

Also known asFrancisco J Pacheco, Pacheco Frank

Includes Address(5) Phone(3) Email(3)

Fransisca Pacheco

Resides in Beach Haven, NJ

Related ToJose Pacheco, Deanea Pacheco, Kevin Pacheco

Also known asFrancisco Pacheco

Includes Address(1) Phone(5)

Francisdo Pacheco

Resides in Bridgeton, NJ

Also known asFrancisco Pacheco

Includes Address(2) Phone(1)

Frankie Pacheco, 66

Resides in Dunellen, NJ

Lived InBound Brook NJ, Bronx NY, Corona NY, Easton PA

Related ToMaritza Pacheco, Jimmie Pacheco, Martha Pacheco, Marta Pacheco

Also known asFrancisco E Pacheco, Rancisco Pacheco, Pacheco J Francisco, Fransico Pacheco, Francisco Pachec

Includes Address(10) Phone(6) Email(6)

Fransico Pacheco, 65

Resides in Middle Island, NY

Lived InCentral Islip NY, Bound Brook NJ, Ronkonkoma NY, Coram NY

Related ToMaritza Pacheco, Jimmie Pacheco, Martha Pacheco, Frankie Pacheco

Also known asFrancisco E Pacheco

Includes Address(12) Phone(4) Email(3)

Source

FRANCISCO PACHECO

Francisco Pacheco, Nace en Cata estado Aragua. Voz esencial del canto popular venezolano. Con su tesitura grave recorre con fluidez asombrosa los senderos baritonales del canto. Un color único en su voz, de homogénea dulzura, lleva los cantares populares al podio de la pasión colectiva.

Pacheco se formó en la fe de músicas y danzas de la tradición; en el repentismo de sirenas y golpes sanjuaneros; en las parrandas, malojeras y aguinaldos decembrinos; en los tonos de oficio de La Semana Santa y en los cantos de fulía de rogativas agrarias. Desde niño, se nutrió de la enseñanza de su madre Paula Elvira Croquer, Capitana del San Juan de Cata, a quien debe haber sido un “Diablo iniciado” a los diez años, como promesero y devoto del Santísimo Sacramento, para ser hoy “Diablo Danzante” en la ceremonia anual del Corpus Christy.

La versatilidad de Pacheco le permite interpretar con maestría la música de todas las regiones del país, la que aprendió y compartió con los propios cultores al interpretar los cantos de la tierra y conservar el contenido esencial de su riqueza. Para ser hoy conocido como; “El Cantista Mayor de la Pureza”.

Francisco Pacheco, quien fuera voz líder y alma sonora de Un Solo Pueblo; ahora en la renovación de sus caminos asoma un nuevo proyecto “FRANCISCO PACHECO Y SU PUEBLO”; avalado por un trabajo constante de mas de 25 años y el contacto con los géneros musicales más autóctonos; creado para la investigación, rescate, promoción y difusión de la música venezolana, con una visión futura en la enseñanza histórica y práctica de cada una de ellas. Ha compartido en gran parte de los escenarios nacionales, llevando siempre como norte la música y las danzas de nuestro país.

Destinado con toda certeza a florecer en los cantos de una patria musical imperecedera. Cuenta con cuatro (04) proyectos discográficos: “Francisco Pacheco y su pueblo volumen 1”; Francisco Pacheco y su Pueblo “RAÍCES”; Francisco Pacheco y su Pueblo “Treinta Años de Tradición” y Francisco Pacheco y su Pueblo “DIVERSIDAD”. Todos estos trabajos mantienen un variado repertorio que abarca gran parte de la geografía musical venezolana, desde los golpes de tambor, sangueos y parrandas de la costa, hasta el joropo central, la danza y la contradanza zuliana, el calypso del callao, la gaita Y la jota oriental, el merengue larense, aguinaldos, guaraña, el vals, el pasaje llanero, el romance andino, la danza y la gaita de tambora del Zulia; brindándoles a los seguidores de la agrupación, un paseo de gran calidad musical por Venezuela.

Músicos como: Gustavo Aranguren, Ángel palacios, Joel Uriola, Víctor Mesta, Fernando Giovanetty, Julio Flores, Domingo Pagliuca, Javier Marín, Pedro Marín, Gustavo Caruci, Rafael “Pollo” Brito, Mauricio Silva, Benjamín Brea, Alicia Dávila, Rolando Canónico, entre otros, enriquecen el trabajo musical de la agrupación. Las mezclas y masterizaciones se han realizado en estudios tales como: Fullersound Inc, Miami, Florida por Michael Fuller. En Digital Atomic Archiving & Mastering, Miami, Florida por Roger Nichol y en Producciones Sincopa en Venezuela por Ramsès Alegría y Luis Miguel Emmanuelli.

La agrupación esta conformada por excelentes músicos de gran trayectoria en el ambiente académico y popular, y por cultores autóctonos de diferentes manifestaciones folclóricas venezolanas. Ellos son: Luís Silva, José Quevedo, Rodolfo Rada, Marino Zambrano, Yoel Yzaguirre, José Soto, Vicente Osorio, Engelbert Sánchez, Edgar Avariano, Dioger Berroteran, Antonio Armas, Francisco Pacheco (hijo), Luz Colina, Ysabel Loero, Mirla Pacheco, William Ávila, (técnico de sonido), Enrique Lira (representante).

Source

Frank Bernard Pacheco (1947-2013) – Find A Grave Memorial

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Francisco “Frank” Pacheco (1891-1962) – Find A Grave Memorial

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Francisco Pacheco – The Collection

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Velázquez, Diego Rodríguez de Silva y

Sevilla (Spain), 1599 – Madrid (Spain), 1660

Velázquez, Diego Rodríguez de Silva y See author’s file Ca. 1620. Oil on canvas Room 011

The second half of the 16th century and the first decades of the 17th saw the rise in Spain of male bust portraits in which the model normally appears against a neutral background with no elements to indicate his profession or identity. Often, the model wears a black suit with a ruff collar to indicate his bourgeois or noble social standing. Mostly, these portraits were made for private use as personal or family mementos of their models.

The present work was painted by Velázquez before February 1623, when such collars were prohibited. Its still-stiff style and the toasted flesh tones of the sitter’s face suggest it was painted around 1620. Its quality, and the extraordinary personality of its author have led many to wonder about the model’s identity, and he is often thought to be Velázquez’s father-in-law, Francisco Pacheco, who was one of the most influential artistic and intellectual figures in Seville in his time. Based on comparison with other supposed portraits, such as to one appearing in the Adoration of the Magi (P01166), this identification was recently corroborated by the discovery and study of Pacheco’s Last Judgment (Castres, Musée Goya). The latter was long lost, but in his Art of Painting, Pacheco stated that he had depicted himself in the lower left of the composition. One of the figures there looks fixedly at the viewer, affirming his authorship of the work, and its comparison to the portrait at the Museo del Prado leaves no doubt that Velázquez was depicting his father-in-law. The elongated face, wide and clear forehead, prominent nose and most of all, the intelligent and inquisitive gaze are further proof.

In any case, this is a work of notable quality and it denotes the painter’s knowledge, not only of the traditions of early 17th-century Spanish portraiture, but more concretely of the practice of art in Seville. It is the result of wise reflection on the works of that genre that Velázquez was able to see in his native city, including paintings by masters such as Pedro de Campaña, Vázquez or Pacheco himself. All of them cultivated a type of portraiture stylistically derived from Flemish models and characterized by a taste for hard and marked profiles and facial features. Here, this is combined with a collar painted with soft, fluid brushstrokes that draws our attention to the figure’s face. And Velázquez’s rendering of that face makes very skillful use of light and shadows.

The painting’s preparation differs from Velázquez’s customary practice in Seville, and this, combined with a stylistic analysis, suggest that it may have been painted in late 1622 or the very beginning of 1623, at a moment of transition between Seville and Madrid. That would explain, for example, its similarity to the portrait of Góngora (Boston, Museum of Fine Arts).

This work is first listed among the property of Philip IV at the La Granja Palace, and thus, it has sometimes been thought to be one of many paintings that the king and his wife, Isabel de Farnesio, purchased in Seville during their stay there between 1729 and 1733.

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Inventory number P001209 Author Velázquez, Diego Rodríguez de Silva y Title Francisco Pacheco Date Ca. 1620 Technique Oil Support Canvas Dimension Height: 41 cm.; Width: 36 cm. Provenance Royal Collection (Collection of the Marquis of El Carpio, Garden of San Joaquín, Madrid, 1689?; Collection of Felipe V, Royal Palace of La Granja de San Ildefonso, Segovia, 1727; Collection of Felipe V, La Granja Palace, “pieza donde se decía misa antiguamente”, 1746, n. 43; La Granja Palace, 1794, n. 43; La Granja Palace, 1814-1818, n. 43)

Bibliography +

Noul, M., Sotomayor, F., Muguruza, P., Les chefs-d’oeuvre du Musée du Prado, Musée d’Art et d’Histoire, Ginebra, 1939, pp. nº 77.

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Bottineau, Yves, Tout L’Oeuvre Peint de Velázquez, Flammarion, Paris, 1969, pp. nº 19.

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Gudiol, José, Velázquez: 1599-1660, historia de su vida, catálogo de su obra, Ediciones Polígrafa, Barcelona, 1973, pp. nº 31.

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Pintura española de El Greco a Picasso : el tiempo, la verda…, Sociedad Estatal para la Acción C, Madrid, 2006, pp. 320-321.

De Tiziano a Goya: grandes maestros del Museo del Prado, Museo Nacional del Prado: SEACEX, Madrid, 2007, pp. 220.

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Ruiz Gómez, Leticia, Juan Bautista Maíno : 1581-1649, Museo Nacional del Prado, Madrid, 2009, pp. 214.

Martínez del Valle, Gonzalo, La imagen del poder: el retrato sevillano del siglo XVII, Fundación Real Maestranza de Caballería de Sevilla, 2010, pp. 140.

Moser, Wolf, Diego de Silva Velázquez. Das werk und der maler, I, Saint-Georges, Lyon, 2011, pp. 101.

Realismo (s) : la huella de Courbet, MNAC, 2011, pp. 174,233.

Cruz Valdovinos, José Manuel, Velázquez: vida y obra de un pintor cortesano, Caja Inmaculada, 2011, pp. 55.

Portús, Javier, Velázquez ‘Francisco Pacheco’. En: Guía de la colección. Velázquez, Museo Nacional del Prado, Madrid, 2012, pp. 14.

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Maurer, G., Goya: lo bello y lo recóndito. En: La belleza encerrada: de Fra Angelico a Fortuny, Museo Nacional del Prado, Madrid, 2013, pp. 153.

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López-Rey, José The Wildenstein Institute, ‘Diego Velázquez. Mars’ En: Velázquez. The complete works, Taschen, Colonia, 2014, pp. 337-338 n.20.

Mena Marqués, M.; Albarrán, V., Azúa, F. de, La belleza cautiva. Pequeños tesoros del Museo del Prado, Museo del Prado – Obra Social ”La Caixa”, Barcelona, 2014, pp. 102.

Prado captive beauty: treasures from the Prado Museum, Mitsubishi Ichigokan Museum, 2015, pp. n.24.

Kientz, Guillaume, Velázquez. L’Affrontement de la peinture, Cohen & Cohen, París, 2015, pp. 69 cat.1.

López Fanjul, M, ‘Diego R.de S. Velázquez. Portrait of Francisco Pacheco’ En:, El Siglo de Oro: The Age of Velázquez, Staatliche Museen ; Kunsthalle der Hypo-Kulturstiftung, 2016, pp. 132-133 n.26.

Portús, Javier, ‘Diego Rodriguez de Silva y Velázquez. Francisco Pacheco’ En:, Pacheco. Teórico, artista y maestro (1564-1644)., Junta de Andalucía,, Sevilla, 2016, pp. 254-255 n.58.

Other inventories +

Inv. Felipe V, La Granja, 1746. Núm. 43.
43-44-45 / Tres Pinturas originales en Lienzo, la una del Tintoreto, que representan una Cabeza de Hombre con Gorguera. tiene una tercia y cinco dedos de alto; Otra, y quatro de ancho. Otra de mano del Gobo de Carache, otra Caveza de un viejo del mismo alto, y ancho que la antecedente. Y la ultima de la escuela de Guidorene, la Cavezade Ariana. tiene dos tercias menos un dedo de alto; media vara, y dos dedos de ancho; y todas tres Marcos dorados lisos, con Targetas a las Esquinas … 3

Inv. Testamentaría Carlos III, La Granja, 1794. Núm. 43.
[2051] 43 / Otra [pintura] en lienzo de dos pies de alto por uno y medio de ancho, marco dorado con talla á las esquinas representa una Caveza de hombre con gorguera en ochocientos reales. Tintoreto … 800

Inv. Fernando VII, La Granja, 1814-1818. Núm. 43.
43 / Dso pies de alto uno y medio de ancho, una cabeza de hombre con gorguera = Tintoreto

Catálogo Museo del Prado, 1854-1858. Núm. 228.

Inv. Real Museo, 1857. Núm. 228.
Velazquez. / 228. Retrato de hombre desconocido. / Con traje negro y valona (busto). / Alto 1 pie, 5 pulg; ancho 1 pie, 3 pulg, 4 lin.

Catálogo Museo del Prado, 1872-1907. Núm. 1103.
1103.-Retrato de hombre. / Alto 0,40. Ancho 0,36.-Lienzo. / Sujeto de unos 35 años próximamente, de color ce- / trino, bigote y perilla negros con algunas canas; cabe- / llo corto y traje negro comun, con gorguera de fina ba- / tista lechugada.-Busto de tamaño natural. Del primer / estilo del autor. / El escaso conocimiento que á mediados del siglo XVIII se tenía, bajo nues- / tros reyes de la casa de Borbon, de las escuelas española é italiana, hizo / que en tiempo de Felipe V se atribuyese este retrato al Tintoretto entre los / cuadros que el expresado rey tenía en su Pal. de S. Ildef.,…

Location +

Room 011 (On Display)

Expuesto Update date: 09-10-2019 | Registry created on 28-04-2015

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Biografia de Francisco Pacheco

(Francisco Pacheco del Río; Sanlúcar de Barrameda, 1564 – Sevilla, 1654) Pintor, tratadista y poeta español. Perteneciente a una familia con tradición marinera, no se vio, sin embargo, atraído por el mar, sino por el estudio de la literatura y las artes. Al quedar huérfano pasó a Sevilla bajo la tutela de su tío, el canónigo de la catedral Francisco Pacheco. En Sevilla se relacionó con los más selectos círculos humanistas y se formó en la pintura con el maestro Luis Fernández. También influyeron en su aprendizaje artístico otros pintores manieristas andaluces como Pedro de Campaña y Luis de Vargas, de quienes copió algunos cuadros. Son inciertos sus contactos juveniles con el retratista Lucas de Here en Gante (Flandes), de quien recibió buenos consejos sobre el arte del dibujo. Es probable que entre 1590 y 1591 realizara un nuevo viaje por Europa y España.


Francisco Pacheco (óleo de Velázquez)

En 1592, de nuevo en Sevilla, los jesuitas de Marchena le encargaron tres cuadros religiosos; desde entonces no dejaron de llegarle encargos. En los últimos años del siglo XVI era uno de los pintores más prestigiosos de Sevilla: en 1598 fue escogido, junto a otros artistas, para adornar el túmulo de Felipe II erigido en la catedral hispalense. Dos años después pintó para la Merced de Sevilla la serie de trece pinturas dedicadas a San Pedro Nolasco, primeras realizaciones que entraban de lleno dentro de la estética barroca. En estas obras Pacheco aunó religiosidad y misticismo con un realismo preciso, conseguido a base de un dibujo muy controlado y un modelado de las formas cuidadosamente establecido.

Su extraordinaria capacidad dibujística quedó patente en su gran Libro de la descripción de verdaderos retratos de ilustres y memorables varones, iniciado en 1599, en el que traza las biografías de ilustres contemporáneos con los que el pintor había tratado en la tertulia que se celebraba en su taller, a la que concurrían las figuras sevillanas más notorias en las letras y las artes. Los 56 retratos de esas personalidades hacen de esta singular obra un hito sin parangón artístico en la retratística del momento; de sus virtudes destacan la limpieza del trazo, la expresividad de los rostros, la tensión entre linealidad y modelado a base de sutiles sombras y la penetración psicológica. Observando estos dibujos sí que se diría que Pacheco tuvo necesariamente algún tipo de formación flamenca.

Durante su viaje de 1611 a Madrid y Toledo entabló relación con El Greco y visitó en la Corte al pintor y teórico italiano Vicente Carducho. Desde entonces su pintura adquirió un mayor naturalismo, como queda patente en las obras posteriores: Cristo servido por los ángeles en el desierto (1616) o el retablo de San Juan Bautista (1613). A la vuelta de ese viaje castellano acogió a Diego Velázquez como alumno (y no fue el único pupilo ilustre, pues también tuvo bajo su tutela artística a Alonso Cano). Sin embargo, no desapareció nunca de su obra una sensación general de rigidez, cierta incoherencia compositiva y una frialdad que, si bien en los retratos dibujados era perfectamente racional y necesaria, en las pinturas denotaba un apego excesivo a ciertas soluciones tardomanieristas italianas. En 1618 consintió el matrimonio de su hija Juana con Velázquez, quien ya entonces se permitía dar a su reciente suegro puntuales consejos pictóricos encaminados a mejorar la representación naturalista de su pintura.


Cristo servido por los ángeles en el desierto (1616)

Después de la primera década del siglo XVII, la más intensa en cuanto a producción pictórica, Pacheco se dedicó muy especialmente a tareas teóricas, concentradas principalmente en la redacción de su tratado Arte de la pintura, iniciado hacia 1600, concluido en 1638 y publicado póstumamente en 1649. La obra está compuesta por tres libros y un apéndice. En el libro primero se intenta demostrar la antigüedad y nobleza de la pintura al tratar sobre la alcurnia de sus practicantes y su superioridad sobre la escultura; en el segundo se desarrolla una teoría de la pintura atendiendo al decoro, dibujo y colorido; el tercer libro se ocupa de las técnicas pictóricas y de la iconografía sagrada. Este último libro es el tratado más completo sobre técnicas de pintura escrito en España antes del siglo XVIII.

En cuanto a la iconografía, Pacheco da puntual cabida, con la ayuda de sus amigos teólogos de Sevilla, a los temas y fórmulas fundamentales del arte católico, reflejo de la imaginería trentina; no en vano para el autor el objetivo primordial de la pintura era estimular a los fíeles “para que adoraran y amaran a Dios y cultivaran la piedad”. Su célebre Cristo en la Cruz (1616) responde al celo que tenía en estos temas: la representación de la crucifixión de Jesucristo con cuatro clavos fue decidida después de consultar con numerosos eruditos y religiosos, siendo el poeta Francisco de Rioja (más tarde bibliotecario real) quien finalmente convenció a Pacheco.

Tan fuerte sentido religioso del arte fue reconocido en 1618 por parte de la Inquisición con su nombramiento como veedor de imágenes sagradas. A partir de 1625, y tomando como punto de referencia la Inmaculada pintada ese mismo año y conservada en la iglesia de San Lorenzo de Sevilla, el arte de Pacheco, al decir de la crítica, empezó a declinar, en parte debido al empuje de los nuevos valores como Zurbarán o Herrera el Viejo, que pronto se ganaron a la mayor parte de la clientela sevillana. Sus biógrafos aseguran que murió a los noventa años de edad, pero no ha sido posible hasta hoy encontrar rastro alguno del lugar donde murió ni de la iglesia en que fue enterrado. Como poeta se le debe el poema Conquista de la Bética; editó además una colección póstuma de las poesías de Fernando de Herrera titulada Versos de Fernando de Herrera (Sevilla, 1619).

Cómo citar este artículo:
Ruiza, M., Fernández, T. y Tamaro, E. (2004). .
En Biografías y Vidas. La enciclopedia biográfica en línea. Barcelona (España). Recuperado de

el .

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