Works by Pedro De Mena can be viewed in several museums internationally. In Spain, his art can be found at the Museo Art Nouveau y Art Deco (Salamanca) and the Museu d’Art Modern (Barcelona). Other European locations include the Museu Calouste Gulbenkian (Lisbon), the Brangwyn Museum (Brugge, Belgium), the Clockarium Museum (Brussels), the Musée d’Art et d’Industrie (Roubaix, France), the Musée de l’Ecole de Nancy (Nancy, France), the Musée des Arts Décoratifs (Paris), and the Musée des Beaux-Arts (Nancy, France). In the United Kingdom, De Mena's art is held at the Brighton Museum & Art Gallery, the Geffrye Museum (London), the Manchester Art Gallery, the National Museums of Scotland (Edinburgh), and the Victoria & Albert Museum (London). North American museums include the Charles Hosmer Morse Museum of American Art (Winter Park, Florida), the Los Angeles County Museum of Art, the Metropolitan Museum of Art^[3] (New York), the Minneapolis Institute of Arts, the Museum of Modern Art (New York), the Royal Ontario Museum (Toronto), the Virginia Museum of Fine Arts (Richmond), and the Wolfsonian at Florida International University (Miami Beach).

When considering prints, it is useful to understand the terminology around their creation. A vintage print is made around the time the negative was taken. A period print is made within 10 to 15 years after. If a print's timing is unknown, or later than that, it is simply an old print. A modern print is recent, made from the original negative. An original print is made by the artist, or under their supervision. A facsimile is a reproduction using the original negative, with base and processing as close as possible to a vintage print. Original prints include woodcuts, engravings, linocuts, mezzotints, etchings, lithographs and serigraphs. These are produced by the artist by hand. The work is created specifically to be a print. Each one is an original because the artist creates the artwork directly on the plate, woodblock, stone, or screen. These are sold through specialist print galleries, frame shops, decorating outlets and fine-art galleries. Offset reproductions are reproduced by photochemical means. Plates do not wear out, so there are no physical limits on the number made. Quantities may be limited by the publisher to add value. Giclée prints are inkjet fine-art prints; Iris prints are scanned into a computer and output on oversized printers. Canvas transfers are also becoming more popular, giving the look of a painting.

Pedro de Mena (1628-1688) was a Spanish sculptor of the Baroque period. He is known for his expressive, realistic, and deeply spiritual carvings, mainly of religious subjects. His importance today rests on several factors. Firstly, his sculptures offer insight into the religious fervour and artistic sensibilities of 17th-century Spain. His works allow us to understand better the period's cultural and spiritual values. Secondly, de Mena's skill as a sculptor is undeniable. His ability to convey emotion and realism in wood is remarkable. He created works that are both aesthetically pleasing and emotionally moving. His technical expertise continues to inspire sculptors. Finally, de Mena's sculptures can be found in museums and churches across Spain, particularly in the south. They are accessible to the public and continue to be appreciated by art lovers and scholars alike. They offer a tangible connection to the artistic achievements of the Spanish Baroque.

Pedro De Mena was a Spanish sculptor, born in Granada in 1628. He took over the family workshop after his father's death and later trained under Alonso Cano.

Information on Pedro de Mena's specific techniques or materials is scarce in the provided texts. However, the passages do offer insights into the materials and methods of other artists of the period. For example, El Greco used clay models to plan compositions, and he applied paint to canvas in layers, using both coarse hog's hair brushes and palette knives. His ground consisted of red ochre and gesso tempered with linseed oil. Caravaggio employed soft, fine brushes and a fluid oil medium, possibly thinned with turpentine spirit, to achieve smooth surfaces and detailed effects. He likely used linseed oil, which dried faster than walnut oil. Other artists referenced used materials such as sand, plaster, clay, stoneware, fibercement, iron, glass, aluminium, leather, silk, and paper. Sandblasting and photo etching were also used.

Pedro De Mena belonged to the Baroque movement, which took hold in Europe, particularly in Catholic countries, roughly from 1600 to 1700. The term 'Baroque' may come from the Portuguese word 'barocco', meaning an irregular pearl; it was later used to describe art that was full of emotion, dynamism, and drama, often with strong tonal contrasts. It followed Mannerism and preceded the Rococo style. The Baroque style emerged during a period of religious tension in Europe. The Catholic Church used it to strengthen its image and appeal to the public. The Council of Trent (1545-1563) determined that religious art should encourage piety through directness, accuracy, realism, and logic. Baroque art aimed to be visually and emotionally appealing, focusing on Catholic doctrine to educate and influence. The style is exuberant and intense, with solid figures and human dramas. Baroque architecture features grand entrances, opulent rooms, and dramatic use of light and shadow.

Pedro De Mena is known for his polychrome wooden figures, particularly his Magdalene and Ecce Homo figures. His sculptures were so lifelike and emotionally intense that they were often venerated as devotional objects.

His earlier works show the influence of Alonso Cano. This gave him a more theatrical and emotionally intense realism than the workshop tradition he had inherited.