His mastery of composition and light, and remarkable ability to convey the volume and texture of individual objects enabled him to transform the most mundane of kitchen fare into powerful images.

[2] Whereas Miguel remained in Madrid to study and became a painter in the court of Philip V of Spain, Francisco left for Italy in 1699 to seek greater artistic exposure.

Meléndez, his brother José Agustín, and Ana, one of his sisters, began their careers under the tutelage of their father, who was appointed the King's Painter of Miniatures in 1725.

After a fire at the Alcázar of Madrid in 1753 destroyed scores of illuminated choir books, Francisco coaxed his 37-year-old son to return to Spain to help paint new miniatures.

He painted some religious works but began specializing in still life after 1760, a decorative genre that could be produced without commission and was therefore lucrative for artists without royal patronage or the support of the academy.

Between 1759 and 1772, he created at least 44 still lifes for the private museum of natural history belonging to the Prince of Asturias, who later became King Charles IV of Spain.

Meléndez updated and enriched the austere tradition of Spanish still life painting, which had been initiated by the 17th-century masters Juan Sánchez Cotán and Francisco de Zurbarán.

Unlike the 17th-century masters, however, his subject matter is presented physically closer to the viewer, at a lower vantage point, encouraging the spectator to study the objects for themselves.

He loved painting reflections on the surfaces, edges, and rims of lemons, copper pots, ceramic bowls, plums, and melons.