Mariano Salvador Maella (1739-1819) stands as a significant, if sometimes overshadowed, figure in the landscape of Spanish art during the late 18th and early 19th centuries. Born in Valencia, his career predominantly unfolded in Madrid, the vibrant heart of Spanish artistic and political life. Maella's extensive oeuvre, spanning religious frescoes, royal portraits, mythological scenes, and tapestry cartoons, reflects the complex stylistic transitions of his era, navigating the waning influence of the late Baroque and Rococo, the ascendance of Neoclassicism, and the nascent stirrings of Romanticism. As a court painter and a prominent member of the Royal Academy of Fine Arts of San Fernando, Maella was deeply enmeshed in the artistic currents and patronage systems that shaped Spanish art under the Bourbon monarchs Charles III and Charles IV.
Early Life and Artistic Formation in Valencia and Madrid
Mariano Salvador Maella was born in Valencia on August 21, 1739, into a family with artistic inclinations; his father was also a painter, though of lesser renown. This early exposure likely nurtured his talent. Recognizing his potential, his family moved to Madrid when he was still young, a crucial decision that placed him at the epicenter of artistic training and opportunity in Spain. In Madrid, he embarked on his formal artistic education, a path that would lead him to the most prestigious artistic institutions and mentors of the time.
His initial studies were under the sculptor Felipe de Castro, an important figure who had returned from Italy imbued with Neoclassical ideals. This early training in sculpture likely provided Maella with a strong understanding of form, anatomy, and three-dimensional composition, which would later inform his painterly practice. However, his true calling lay in painting, and he soon enrolled in the Royal Academy of Fine Arts of San Fernando. The Academy, established in 1752, was a cornerstone of the Bourbon cultural project, aimed at standardizing artistic training and promoting a style aligned with Enlightenment ideals and royal prestige.
At the Academy, Maella distinguished himself, winning a scholarship in 1757 that enabled him to travel to Rome for further study. This journey to Italy was a rite of passage for ambitious European artists, offering direct exposure to the masterpieces of antiquity and the Renaissance, as well as the vibrant contemporary Roman art scene.
The Italian Sojourn and Its Lasting Impact
Maella's time in Rome, from roughly 1758 to 1765, was transformative. Italy was then a crucible of artistic ferment, where the grandeur of the High Baroque, exemplified by artists like Luca Giordano (though earlier, his influence persisted), was giving way to the more graceful, decorative Rococo and the intellectually rigorous Neoclassicism. Maella immersed himself in this environment, studying classical sculpture, Renaissance masters like Raphael, and contemporary painters.
During his Roman period, he came under the influence of prominent artists. While the provided information highlights Corradino Giaquinto as a key influence on Maella, Giaquinto had actually left Rome for Madrid in 1753 to become court painter to Ferdinand VI, and then returned to Naples in 1762. It's more likely Maella studied Giaquinto's works in Madrid before or after his Rome trip, or was influenced by Giaquinto's students in Rome. More directly, in Rome, Maella would have encountered the circle of Anton Raphael Mengs, the German painter who became a leading proponent of Neoclassicism. Mengs himself would later arrive in Madrid in 1761, and his presence would be pivotal for Spanish art. Other leading painters active in Rome during or around Maella's stay included Pompeo Batoni, known for his Grand Tour portraits and refined Neoclassical-Baroque synthesis.
The Italian experience solidified Maella's technical skills, broadened his stylistic vocabulary, and exposed him to the prevailing Neoclassical theories championed by figures like Johann Joachim Winckelmann. He returned to Spain with an enhanced reputation and a style that blended Italianate grace with a move towards Neoclassical clarity.
The Artistic Milieu of 18th-Century Spain: Baroque, Rococo, and the Rise of Neoclassicism
When Maella returned to Spain and began his mature career, the artistic landscape was in transition. The opulent Spanish Golden Age Baroque of artists like Diego Velázquez, Francisco de Zurbarán, and Bartolomé Esteban Murillo had left a powerful legacy. In the early 18th century, the arrival of the Bourbon dynasty brought French and Italian influences, leading to a flourishing of late Baroque and Rococo styles, particularly in courtly decoration. Artists like Louis-Michel van Loo from France, and Italians like Jacopo Amigoni and the aforementioned Corradino Giaquinto, had played significant roles. Giovanni Battista Tiepolo, the Venetian Rococo master, arrived in Madrid in 1762, working on the Royal Palace frescoes until his death in 1770, representing the zenith of this decorative tradition.
However, the Enlightenment was gaining traction, and with it, a preference for reason, order, and moral virtue in the arts. This intellectual shift fueled the rise of Neoclassicism. The Royal Academy of San Fernando became the primary institution for promoting this new aesthetic, which favored clear drawing, balanced compositions, and subjects drawn from classical history, mythology, and exemplary religious narratives. Anton Raphael Mengs, upon his arrival, became the arbiter of this new taste, advocating for a return to classical principles and the High Renaissance.
Maella found himself at the confluence of these currents. His training and inclinations allowed him to work adeptly in a style that could incorporate the decorative elegance of the Rococo while increasingly adhering to the formal structures and thematic concerns of Neoclassicism. This adaptability was key to his success.
Key Influences and Teachers
Maella's artistic development was shaped by several key figures. His father, a painter himself, provided the initial impetus. Felipe de Castro, his first teacher in Madrid, instilled a foundational understanding of Neoclassical sculpture.
In Rome, the general artistic environment and the study of classical and Renaissance art were paramount. While a direct tutelage under a single master in Rome isn't clearly documented for his entire stay, the influence of Corradino Giaquinto's style, known for its light palette and fluid compositions, is often cited. Giaquinto had been highly influential in Madrid before Maella's Roman sojourn and his style was certainly prevalent. The rising tide of Neoclassicism, championed by Mengs and theorists like Winckelmann, profoundly shaped Maella's artistic direction, steering him towards greater clarity, idealized forms, and morally edifying themes.
Upon his return to Madrid, Antonio González Velázquez (son of the sculptor Pablo González Velázquez and brother to painters Luis and Alejandro) became a significant figure in Maella's life and career. Maella not only collaborated with him but also married his daughter, María González Velázquez, further cementing his ties within the Madrid artistic community. Antonio González Velázquez himself was a respected painter who had also studied in Italy and worked in a style that bridged the late Baroque and early Neoclassical.
Anton Raphael Mengs was arguably the most dominant artistic personality in Madrid during Maella's early to mid-career. Mengs's rigorous Neoclassicism, his role as First Court Painter, and his influence within the Academy set the standard for aspiring artists. Maella, along with contemporaries like Francisco Bayeu, worked alongside and often under the direction of Mengs, absorbing his principles of composition, color, and idealization.
Rise to Prominence and Royal Patronage
Maella's talent, combined with his academic training and strategic connections, facilitated his rapid ascent. Upon his return from Rome around 1765, he was quickly admitted to the Royal Academy of San Fernando. His skill in fresco painting, a highly valued expertise for large-scale decorative projects, was particularly in demand.
He began receiving important commissions, including work for various churches and convents. His reputation grew, and he increasingly caught the attention of the royal court. In 1774, a pivotal year, Maella was appointed Pintor de Cámara (Painter to the King) by Charles III. This prestigious position brought him a regular salary, access to the royal collections, and a steady stream of commissions for portraits, religious paintings, and decorative schemes for the royal palaces.
Maella became a favored artist of the Bourbon court, working extensively in the Royal Palace of Madrid, the Royal Palace of Aranjuez, La Granja de San Ildefonso, and El Escorial. He collaborated with other leading court artists, including Francisco Bayeu, on vast fresco cycles. His ability to work efficiently on a large scale, manage teams of assistants, and deliver works that met the court's expectations for grandeur and decorum solidified his position. He also became involved with the Royal Tapestry Factory of Santa Bárbara, producing cartoons (designs) for tapestries, a role famously associated with Francisco de Goya. Maella eventually rose to become Director of the Royal Academy in 1795 and was appointed First Court Painter in 1799, sharing the honor with Goya after Bayeu's death.
Artistic Style and Evolution
Mariano Salvador Maella's artistic style was not static; it evolved over his long career, reflecting both his personal development and the shifting artistic tastes of the era. His work demonstrates a journey from a style rooted in the late Baroque and Rococo towards a more pronounced Neoclassicism, though often retaining a characteristic softness and elegance.
Early Neoclassical Leanings and Rococo Echoes
Maella's early works, created after his return from Italy, show the influence of his Roman studies and the prevailing trends. There's a grace and lightness reminiscent of Rococo, particularly in the fluid handling of drapery and the delicate color palettes. However, the underlying structure and drawing often reveal a Neoclassical discipline. His religious paintings from this period, for instance, might combine Rococo charm with a more ordered, legible composition favored by Neoclassicism. He was adept at creating appealing, decorative works that suited the tastes of his patrons.
Baroque Dynamism in Decorative Schemes
In his large-scale fresco decorations for royal palaces and churches, Maella often employed a more dynamic, Baroque-influenced style. These works, designed to be viewed from below and to fill vast architectural spaces, required a sense of movement, dramatic foreshortening, and rich color. He drew upon the tradition of Italian ceiling painting, creating illusionistic heavens populated with religious or mythological figures. Works like those in the Royal Palace of Madrid or the Colegiata de San Ildefonso at La Granja showcase this aspect of his talent, demonstrating his ability to synthesize Baroque grandeur with a more refined, classicizing sensibility.
Mature Style: The Synthesis of Grace and Formality
As Neoclassicism became more entrenched in Spain, largely through the influence of Mengs, Maella's style grew more aligned with its tenets. His compositions became more balanced and symmetrical, his figures more idealized and statuesque, and his subject matter often drawn from classical history or exemplary religious scenes. However, Maella's Neoclassicism rarely achieved the severity or archaeological precision of some of its more doctrinaire proponents. He retained a certain painterly quality, a softness of modeling, and a warmth of color that distinguished his work. His portraits from this period, such as those of Charles III and Charles IV, combine formal dignity with a degree of psychological insight, though perhaps not with the penetrating acuity of Goya.
Transition Towards Romantic Sensibilities?
In his later works, some art historians detect a subtle shift, perhaps a foreshadowing of Romanticism. This might be seen in a greater emphasis on emotional expression, a more dramatic use of light and shadow, or a more personal interpretation of traditional themes. However, Maella remained largely a man of the 18th century, and his style, even in its later phases, is more accurately characterized as a refined and adaptable form of late Neoclassicism rather than a full embrace of Romanticism. The political upheavals of the early 19th century also impacted his output and potentially his stylistic explorations.
Major Representative Works
Maella's prolific output includes numerous significant works. Among his most representative are:
Frescoes in the Royal Palace of Madrid: Maella contributed extensively to the decoration of the new Royal Palace, working alongside Mengs and Bayeu. His ceilings, such as those in the antechamber of Gasparini or the Queen's antechamber, display his skill in creating complex allegorical and mythological compositions with a light, airy quality.
_Saint Leocadia Before the Roman Praetor_ (Toledo Cathedral): This large canvas, located in the Capilla de los Nuevos Reyes in Toledo Cathedral, is a powerful example of his religious painting, combining dramatic narrative with Neoclassical clarity and idealized figures.
_Time Discovering Truth_ (c. 1780s, Real Academia de Bellas Artes de San Fernando): This allegorical oil painting is one of his most famous easel works. It depicts Father Time, a winged, white-bearded old man, unveiling the nude figure of Truth. The composition is balanced, the figures idealized, and the subject matter reflects Enlightenment concerns with reason and verity. It was originally a sketch for a larger, unrealized ceiling decoration.
_The Apparition of the Virgin and Child to Saint Louis, King of France_: This theme, popular in religious art, would have allowed Maella to showcase his ability to render divine apparitions with appropriate solemnity and grace, likely employing a harmonious color scheme and idealized figures.
_Agatha de María_ (Portrait): Maella was a skilled portraitist, capturing the likenesses of royalty, nobility, and other prominent individuals. His portraits, like that of Agatha de María, typically exhibit a refined elegance and a careful attention to costume and status, characteristic of official portraiture of the period.
_Seascape_ (Museo del Prado): While primarily known for religious, mythological, and portrait subjects, Maella also produced other genres. A work like _Seascape_ (Marina) demonstrates his versatility and his ability to capture atmospheric effects, possibly influenced by Dutch traditions or contemporary landscape painters like Luis Paret y Alcázar, who was known for his delicate Rococo landscapes and genre scenes.
Tapestry Cartoons: Like Goya, Maella produced numerous cartoons for the Royal Tapestry Factory. These designs, often depicting genre scenes, allegories, or pastoral subjects, were translated into luxurious tapestries to adorn the royal residences. His cartoons tend to be more classicizing and less overtly critical or satirical than Goya's.
Works with Special Contexts or Controversies
Several of Maella's works are notable for their specific commissioning contexts or the interpretations they have engendered:
_Time Discovering Truth_ (Ceiling Sketch): As mentioned, this was a preparatory sketch for a ceiling in the quarters of the Princess of Asturias in the Royal Palace. The allegorical subject was highly appropriate for an enlightened court, emphasizing the triumph of truth and reason. The choice of such a theme underscores the intellectual currents of the era.
_The Triumph of Saint Lawrence_: This subject, depicting the martyrdom of Saint Lawrence by being roasted on a gridiron, was a common theme in Christian art, emphasizing faith and sacrifice. Maella's rendition would likely have focused on the saint's heroic endurance and divine reward. Some interpretations might link such depictions of suffering and steadfastness to broader societal or religious anxieties, or even, as some scholars suggest, as an artistic exploration of human responses to extreme situations, perhaps even touching on themes relevant to the Inquisition's legacy, though this is speculative.
Cover Design for Juan Bautista Muñoz's _Historia del Nuevo Mundo_: Maella was commissioned to design the frontispiece for this important historical work. He reportedly proposed several allegorical designs, but the one ultimately chosen was a more straightforward portrait of Christopher Columbus. This decision reflects the Enlightenment preference for factual representation and historical accuracy over elaborate allegorical conceits, at least in certain contexts.
_Portraits of the Prince of Asturias_ (later Ferdinand VII): Maella painted several portraits of the royal family, including the young Prince of Asturias. These official portraits were not merely likenesses but also statements of dynastic continuity and royal authority. Some were intended for specific locations, such as the Royal Bank (Banco Nacional de San Carlos), underscoring the connection between the monarchy and state institutions.
_Las Cuatro Estaciones_ (The Four Seasons): This series of allegorical paintings representing the seasons was commissioned by Charles IV, likely for one of the royal residences. Such series were popular decorative schemes. Maella's approach would have blended mythological figures with attributes of each season, executed in a style that balanced Rococo grace with Neoclassical structure. The fact that some of these projects remained unfinished could be due to shifting royal priorities or the political turmoil that later engulfed Spain.
_The Annunciation_ (Grisaille): A grisaille (monochrome painting in shades of grey) of _The Annunciation_ highlights Maella's technical skill and his engagement with traditional religious themes. The choice of grisaille might have been for a preparatory study, an overdoor decoration, or to emulate sculpture. It underscores the continued importance of religious art in Catholic Spain, even during the Enlightenment, contrasting with the more secular genre scenes prevalent in parts of Protestant Northern Europe.
Relationships with Contemporary Artists
Mariano Salvador Maella was an integral part of a vibrant and competitive artistic community in Madrid. His career intersected with many of the leading painters of his day.
His most significant contemporaries included Francisco Bayeu y Subías (1734-1795) and Francisco de Goya y Lucientes (1746-1828). All three artists were deeply connected to Anton Raphael Mengs (1728-1779). Mengs, as First Court Painter and a dominant figure at the Academy, acted as a mentor and often a director for large-scale projects, influencing their stylistic development towards Neoclassicism. Maella and Bayeu frequently collaborated on fresco cycles in the royal palaces, sometimes under Mengs's supervision. While Goya also studied with Bayeu (who became his brother-in-law) and was influenced by Mengs, his artistic trajectory would eventually diverge dramatically, exploring darker, more personal, and critical themes.
Maella's father-in-law, Antonio González Velázquez (1723-1793), was an established artist with whom Maella had a close professional and personal relationship. They collaborated on projects, and González Velázquez's position within the Academy and the court likely aided Maella's early career.
The Italian influence remained strong. Maella was certainly aware of the work of Corradino Giaquinto (1703-1766), who had been a highly influential court painter in Madrid before Maella's rise. The legacy of earlier Italian Baroque masters like Luca Giordano (1634-1705), who had also worked extensively in Spain, continued to inform large-scale decorative painting. The presence of Giovanni Battista Tiepolo (1696-1770) and his sons, Giandomenico Tiepolo and Lorenzo Tiepolo, in Madrid during the 1760s, executing magnificent Rococo frescoes in the Royal Palace, provided a dazzling, albeit stylistically different, benchmark for decorative painting.
Other Spanish contemporaries included Luis Paret y Alcázar (1746-1799), a master of the Spanish Rococo, known for his exquisite small-scale paintings, elegant figures, and vibrant depictions of contemporary life. While stylistically different, Paret and Maella operated within the same broader artistic environment. Later in Maella's career, younger Neoclassical painters like José de Madrazo y Agudo (1781-1859) and Vicente López Portaña (1772-1850) would emerge, the latter eventually succeeding Goya as First Court Painter. Maella's role as Director of the Academy meant he would have interacted with and influenced the training of many younger artists.
Maella's career was thus characterized by both collaboration and competition. He navigated the complex network of artistic alliances, academic hierarchies, and courtly favor to maintain a prominent position for several decades.
Later Career, Political Turmoil, and Legacy
Maella's career flourished under Charles III and Charles IV. He held prestigious titles, including Director General of the Royal Academy of San Fernando (from 1795, succeeding Bayeu) and First Court Painter (from 1799, an honor he shared with Goya). He was responsible for overseeing numerous artistic projects and played a key role in shaping the official artistic taste of the court.
However, the early 19th century brought profound political upheaval to Spain. The Napoleonic invasion (1808-1814), the abdication of Charles IV and Ferdinand VII, and the imposition of Joseph Bonaparte as king threw the country into turmoil. Like many officials and artists, Maella faced difficult choices. He continued to work during the French occupation, which led to accusations of being an "Afrancesado" (Frenchified, or a collaborator) after the restoration of Ferdinand VII in 1814.
Consequently, upon Ferdinand VII's return, Maella was subjected to a "purification" process. He was dismissed from his court positions and effectively forced into retirement, his pension reduced. This marked a sad end to a long and distinguished career in royal service. He spent his final years in Madrid, passing away on May 10, 1819.
Despite this unfortunate end, Maella's legacy is significant. He was a highly skilled and versatile artist who played a crucial role in the transition of Spanish art from the late Baroque/Rococo to Neoclassicism. His numerous frescoes in royal palaces and churches, his religious paintings, portraits, and tapestry cartoons constitute a substantial body of work that exemplifies the official art of the Spanish Enlightenment. He was a master of large-scale decoration and an influential academician.
Unresolved Questions and Historical Debates
Despite his prominence, certain aspects of Maella's life and work continue to be discussed by art historians:
Attribution and Identification: As with many prolific artists of the past, questions of attribution occasionally arise for specific works. A notable case involved a portrait long identified as Frolán de Berganza, which, through re-examination of inscriptions and historical context, is now widely accepted as depicting Pedro López de Lerena, an important minister under Charles III. Such re-identifications refine our understanding of his sitters and commissions.
The Nature of his Neoclassicism: While Maella is categorized as a Neoclassical painter, the precise nature of his adherence to the style is debated. His Neoclassicism is often seen as softer, more decorative, and less severe than that of Mengs or French Neoclassicists like Jacques-Louis David. He retained a certain Rococo grace and a painterly quality that set him apart. Understanding this stylistic blend is key to appreciating his unique contribution.
Relationship with Goya: Maella and Goya were exact contemporaries who shared the title of First Court Painter. While they collaborated and moved in the same circles, their artistic paths diverged significantly. Goya's genius led him to explore profound psychological depths, social critique, and the "darker" aspects of human experience, far removed from Maella's more conventional and courtly art. The dynamic between these two leading figures is a subject of ongoing interest.
The "Afrancesado" Accusation: The circumstances of Maella's service during the French occupation and his subsequent "purification" and dismissal highlight the complex political pressures faced by artists during times of conflict. The extent to which he willingly collaborated versus simply trying to continue his professional life under a new regime is a nuanced historical question.
Re-evaluation of his Status: For a long time, Maella's reputation was somewhat overshadowed by that of Goya. However, recent scholarship has increasingly recognized Maella's own merits and his importance as a central figure in Spanish Enlightenment art. His role as a bridge between styles, his prolific output, and his influence as an academician are now more fully appreciated. He is seen as a key representative of the official, court-sponsored art of his time, providing a crucial context for understanding the broader artistic landscape of 18th-century Spain.
Conclusion: An Enduring Contributor to Spanish Art
Mariano Salvador Maella was more than just a competent court painter; he was a pivotal artist who skillfully navigated the shifting artistic currents of 18th-century Spain. From his early training in Valencia and Madrid to his formative years in Rome, and throughout his long service to the Spanish crown, Maella demonstrated remarkable adaptability and technical prowess. His art, characterized by its elegance, clarity, and decorative sensibility, graced royal palaces, churches, and academic institutions, leaving an indelible mark on the visual culture of the Spanish Enlightenment.
While his contemporary Francisco de Goya ultimately achieved greater international fame for his revolutionary genius, Maella's contribution remains fundamental to understanding the official art and academic traditions of the period. He successfully synthesized elements of the late Baroque, Rococo, and Neoclassicism, creating a style that was both dignified and appealing. His extensive work in fresco, his religious canvases, his formal portraits, and his tapestry designs collectively represent the artistic ideals of an era that valued reason, order, and enlightened patronage. Mariano Salvador Maella's career and oeuvre offer a rich field of study for appreciating the complexities and achievements of Spanish art during a transformative period in its history.
