Summary: The works on paper of Carreño de Miranda (1614?1685) are among the most noteworthy produced in seventeenth-century Spain on account of his highly personal style and his significant influence on the artists active in Madrid in the second half of the century. This is the first publication to carry out a systematic study of the graphic output of the artist, who was court painter to Charles II. It redefines the scope of his corpus and analyses the role of drawing in the various stages of his career, from his early religious works to his establishment as a court portraitist, as well as its important function as a vehicle for conveying ideas in his fruitful artistic relationship with Francisco Rizi. For this purpose, the Asturian’s drawings are studied in parallel with those of artists of his circle, such as Claudio Coello, Mateo Cerezo, Pedro Ruiz González and the abovementioned Francisco Rizi. Carreño de Miranda’s drawings are characterised by a skilled handling of the pencil, which he used in the same way as a paintbrush, defining forms with touches of colour that are overlaid and blended. Studying them thus makes it necessary to broaden the traditional view of the artist as the painter who – to quote Unamuno – portrayed ‘the decline of Hapsburg Spain’ and leads us to rediscover through his drawings the luminosity of his religious painting and the sumptuousness of the decorative undertakings in which he took part.

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