Mateo Cerezo

His father was the painter Mateo Cerezo Muñoz (c. 1610–1670), sometimes referred to as "Mateo Cerezo the elder"), and Isabel Delgado, the daughter of a well-known goldsmith.^[1]

After receiving his initial training from his father, Cerezo went to Madrid where he studied with Juan Carreño de Miranda, becoming one his most promising students.^{[citation needed]} He was also employed in Carreño's workshops.^{[citation needed]}

His style was influenced by Antonio de Pereda, Carreño and Bartolomé Esteban Murillo.^[2] He also appears to have been familiar with Titian, Veronese and Correggio, whose works he could have seen in the Royal collections.^{[citation needed]} He was active in Burgos, Valladolid and Valencia, as well as Madrid. His works ranged from altarpieces to small devotional paintings.^{[citation needed]}

His final work was a "Last Supper" for the refectory of the Order of Augustinian Recollects, which is known only from a print by José del Castillo, made in 1778. It was looted during the Peninsular War, and passed through several hands before disappearing during the Spanish Civil War.^[1]

He was married in 1664; he died two years later as the result of an unspecified serious illness. Despite his early death, he left a relatively large body of works, many of which may be seen at the Museo del Prado.^{[citation needed]}

• Ecce Homo, 1650, Museum of Fine Arts, Budapest.
• Assumption of Mary (Asunción de María), c. 1650, Museo del Prado, Madrid.
• Desposorios místicos de Santa Catalina, Palencia Cathedral.
• The Assumption of Our Lady (La Asunción de Nuestra Señora), San Telmo Museoa, San Sebastián
• Magdalena penitente, c.1661, Rijksmuseum, Ámsterdam.
• Saint Francis Receiving the Stigmata, 1663, Chazen Museum of Art, Madison, WI
• Boda mística de Santa Catalina. Museo del Prado, Madrid.
• Bodegón de cocina. Museo del Prado, Madrid
• Una pobre alma ante el tribunal, Museo del Prado, Madrid.

• 
  The Assumption of the Virgin
• 
  The Nativity
• 
  Immaculate Conception