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Submission declined on 10 May 2024 by
Iwaqarhashmi (
talk). This submission is not adequately supported by
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This draft has been resubmitted and is currently awaiting re-review. | ![]() |
Submission declined on 10 May 2024 by
Iwaqarhashmi (
talk). This submission is not adequately supported by
reliable sources. Reliable sources are required so that information can be
verified. If you need help with referencing, please see
Referencing for beginners and
Citing sources. This submission's references do not show that the subject
qualifies for a Wikipedia article—that is, they do not show significant coverage (not just passing mentions) about the subject in published,
reliable,
secondary sources that are
independent of the subject (see the
guidelines on the notability of people). Before any resubmission, additional references meeting these criteria should be added (see
technical help and learn about
mistakes to avoid when addressing this issue). If no additional references exist, the subject is not suitable for Wikipedia. Declined by
Iwaqarhashmi 2 months ago. | ![]() |
Diego Díez Ferreras (? -1697) was a Spanish baroque painter and metalworker [1], originally from Carmona (Seville) but active in Valladolid [2] where he is documented from 1662 until his death. [3]
His production, very abundant and dispersed, being the most representative Valladolid painter of the second half of the 17th, projects a naive and almost popular style.
In 1662 he was already established in Valladolid, where he received Manuel Osorio as an apprentice, perhaps a relative of Inés Osorio whom he would later marry, as witnessed by the sculptor Francisco Díez de Tudanca. [4]
Among his first works, the canvases he painted for the altarpiece of the Church of the Holy Cross, in Medina de Rioseco, dedicated to the life of Emperor Constantine, around 1666, stand out. [5]
Díez, with lack of technical resources and unable to provide movement to his groups, despite frequently addressing poorly treated or completely unpublished iconography, frequently resorted to foreign prints, as can be seen, for example, in the paintings dedicated to the Asunción de la Virgen in the main altarpiece of Laguna de Duero, from the convent of San Francisco in Valladolid, and the Collegiate Church of San Antolín in Medina del Campo, signed in Valladolid in 1682, inspired by an engraving of a composition by Rubens. The canvasPreparations for the Martyrdom of Saint Sebastian". [6] is attributed to him. For its testimonial value, more than for its aesthetic values, the series of eight oil paintings embedded in the vault of the Colegio de San Albano (Valladolid) where the story of the Vulnerata Virgin, desecrated during the sacking of Cádiz by the English in 1596, deserves to be highlighted.
Category:Spanish Baroque painters Category:Year of birth missing Category:1697 deaths
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Submission declined on 10 May 2024 by
Iwaqarhashmi (
talk). This submission is not adequately supported by
reliable sources. Reliable sources are required so that information can be
verified. If you need help with referencing, please see
Referencing for beginners and
Citing sources. This submission's references do not show that the subject
qualifies for a Wikipedia article—that is, they do not show significant coverage (not just passing mentions) about the subject in published,
reliable,
secondary sources that are
independent of the subject (see the
guidelines on the notability of people). Before any resubmission, additional references meeting these criteria should be added (see
technical help and learn about
mistakes to avoid when addressing this issue). If no additional references exist, the subject is not suitable for Wikipedia.
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You can also browse Wikipedia:Featured articles and Wikipedia:Good articles to find examples of Wikipedia's best writing on topics similar to your proposed article. Improving your odds of a speedy review To improve your odds of a faster review, tag your draft with relevant WikiProject tags using the button below. This will let reviewers know a new draft has been submitted in their area of interest. For instance, if you wrote about a female astronomer, you would want to add the Biography, Astronomy, and Women scientists tags. Editor resources
This draft has been resubmitted and is currently awaiting re-review. | ![]() |
Submission declined on 10 May 2024 by
Iwaqarhashmi (
talk). This submission is not adequately supported by
reliable sources. Reliable sources are required so that information can be
verified. If you need help with referencing, please see
Referencing for beginners and
Citing sources. This submission's references do not show that the subject
qualifies for a Wikipedia article—that is, they do not show significant coverage (not just passing mentions) about the subject in published,
reliable,
secondary sources that are
independent of the subject (see the
guidelines on the notability of people). Before any resubmission, additional references meeting these criteria should be added (see
technical help and learn about
mistakes to avoid when addressing this issue). If no additional references exist, the subject is not suitable for Wikipedia. Declined by
Iwaqarhashmi 2 months ago. | ![]() |
Diego Díez Ferreras (? -1697) was a Spanish baroque painter and metalworker [1], originally from Carmona (Seville) but active in Valladolid [2] where he is documented from 1662 until his death. [3]
His production, very abundant and dispersed, being the most representative Valladolid painter of the second half of the 17th, projects a naive and almost popular style.
In 1662 he was already established in Valladolid, where he received Manuel Osorio as an apprentice, perhaps a relative of Inés Osorio whom he would later marry, as witnessed by the sculptor Francisco Díez de Tudanca. [4]
Among his first works, the canvases he painted for the altarpiece of the Church of the Holy Cross, in Medina de Rioseco, dedicated to the life of Emperor Constantine, around 1666, stand out. [5]
Díez, with lack of technical resources and unable to provide movement to his groups, despite frequently addressing poorly treated or completely unpublished iconography, frequently resorted to foreign prints, as can be seen, for example, in the paintings dedicated to the Asunción de la Virgen in the main altarpiece of Laguna de Duero, from the convent of San Francisco in Valladolid, and the Collegiate Church of San Antolín in Medina del Campo, signed in Valladolid in 1682, inspired by an engraving of a composition by Rubens. The canvasPreparations for the Martyrdom of Saint Sebastian". [6] is attributed to him. For its testimonial value, more than for its aesthetic values, the series of eight oil paintings embedded in the vault of the Colegio de San Albano (Valladolid) where the story of the Vulnerata Virgin, desecrated during the sacking of Cádiz by the English in 1596, deserves to be highlighted.
Category:Spanish Baroque painters Category:Year of birth missing Category:1697 deaths