The son of a painter with the same name, Juan Carreño de Miranda began his training in Madrid during the late 1620s. By 1634, he was an independent artist receiving numerous commissions, mainly from the church to paint altarpieces. His earliest work reveals both Italian and Flemish influences, especially from the works of Peter Paul Rubens, Anthony van Dyck, and Titian. In 1658 Carreño was hired a
