Painter, Photographer. Ramón Sagredo Carreño was a 19th-century Mexican painter and photographer who worked under the patronage of Emperor Maximilian and decorated the former cupola of "La Profesa" with the Catalan master Pelegrí Clavé. Trained at San Carlos Academy from 1854 to 1859, he received praise for his 'Jesus on the road to Emmaus.' Under sponsorship of Maximilian of Mexico, he went on to decorate Iturbide Hall at the Imperial Palace (current Ambassador's Hall at the National Palace) with a full-length, posthumous portrait of Vicente Guerrero. He also worked with Clavé on the former cupola of 'La Profesa' (ravaged by a fire in January 1914) and at San Carlos' galleries. By the end of the Reform War, his personal finances were dwindling. Following the example of many of his contemporaries, he ventured into photography by painting over photographic enlargements for a fraction of the cost of paintings. Later on, as a photographer, he formed short-lived associations with Luis Veraza (1864), for whom he started coloring at Espíritu Santo 17 ½; and the Valleto brothers at Vergara 7, before setting up his own studio in the Mexican capital. The details of his death are rather murky. According to most sources, he committed suicide on 2 July 1872 while San Carlos' galleries catalog, according to Abelardo Carrillo y Gariel, places his death in 1873.
Painter, Photographer. Ramón Sagredo Carreño was a 19th-century Mexican painter and photographer who worked under the patronage of Emperor Maximilian and decorated the former cupola of "La Profesa" with the Catalan master Pelegrí Clavé. Trained at San Carlos Academy from 1854 to 1859, he received praise for his 'Jesus on the road to Emmaus.' Under sponsorship of Maximilian of Mexico, he went on to decorate Iturbide Hall at the Imperial Palace (current Ambassador's Hall at the National Palace) with a full-length, posthumous portrait of Vicente Guerrero. He also worked with Clavé on the former cupola of 'La Profesa' (ravaged by a fire in January 1914) and at San Carlos' galleries. By the end of the Reform War, his personal finances were dwindling. Following the example of many of his contemporaries, he ventured into photography by painting over photographic enlargements for a fraction of the cost of paintings. Later on, as a photographer, he formed short-lived associations with Luis Veraza (1864), for whom he started coloring at Espíritu Santo 17 ½; and the Valleto brothers at Vergara 7, before setting up his own studio in the Mexican capital. The details of his death are rather murky. According to most sources, he committed suicide on 2 July 1872 while San Carlos' galleries catalog, according to Abelardo Carrillo y Gariel, places his death in 1873.
Bio by: Ola K Ase
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