The Los Angeles County Museum of Art (LACMA) presents Luis Meléndez: Master of the Spanish Still Life, the first U.S. exhibition in twenty-five years of eighteenth-century Spanish painter Luis Meléndez (1715-1780). Meléndez is now recognized not only as one of the greatest Spanish painters of the eighteenth century, but also as one of the most accomplished still life painters of the time. Drawing works from major American and European museums as well as private collections, the exhibition will showcase nearly thirty paintings by Meléndez—many of which have never been exhibited before. In addition, a selection of eighteenth century Spanish kitchenware, similar to those used by the artist as studio props, will be featured. LACMA’s presentation will be the only West Coast showing of Luis Meléndez: Master of the Spanish Still Life and will be on view on the third floor of the Ahmanson Building from September 27, 2009 through January 3, 2010.

Although recognition of Meléndez has been eclipsed over the centuries by that of fellow Spaniard Francisco Goya (1746-1828), Meléndez’s work has received increasing attention from scholars and collectors in recent years. Modern scholarship of his work, including extensive technical examination, has taken on new momentum in the last few decades, providing insight into the artist’s meticulous approach to rendering still lifes. Meléndez’s acute realism and the austerity of his compositions anticipate aspects of modern art, demonstrating a sensibility that resonates even today.

Luis Meléndez was born in Naples, Italy into a family of artists. He was initially trained in the art of miniature painting by his father, Francisco Antonio. The artist began his career with great promise, studying at the provisional Royal Academy in Madrid, an institution that his father helped to found. Yet in 1748, after Francisco Antonio publicized his disagreements with the Academy, both he and his Luis were expelled from the Academy—an event that significantly damaged the son’s prospects for a successful academic career. Indeed, Meléndez’s aspirations for public recognition, particularly for the prestigious position of painter to the King, were never met with success.

However, in 1771 Meléndez received a commission from Charles, Prince of Asturias (later King Charles IV), and his wife, Princess Maria Luisa, to paint an extensive series of still lifes for the New Cabinet of Natural History in the Royal Palace. The royal commission, a central event in the painter’s life, led to modest success with other patrons, though it was cancelled abruptly in 1776. Meléndez died shortly after declaring himself a pauper in 1780, and his reputation sank into relative obscurity.




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