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Luis Egidio Meléndez de Rivera Durazo y Santo Padre was born in Naples in 1716. His father, Francisco Meléndez de Rivera Diaz (1682- after 1758), was a miniaturist painter from Oviedo who had moved to Madrid with his older brother, the portrait painter Miguel Jacinto Meléndez (1679–1734) in pursuit of artistic instruction. Whereas Miguel remained in Madrid to study and became a painter in the court of Philip V, Francisco left for Italy in 1699 to seek greater artistic exposure. Francisco took a special interest in visiting the Italian academies and settled in Naples where he married Maria Josefa Durazo y Santo Padre Barrille. Luis was a year old when his father, who had been a soldier in a Spanish garrison and lived abroad for almost two decades, returned to Madrid with the family. Luis Egidio, 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 several years, in his words: painting royal portraits in jewels and bracelets to serve as gifts for envoys and ambassadors, he entered the workshop of Louis Michel van Loo (1707–1771), a Frenchman who had been made royal painter of Philip V of Spain. Between 1737 to 1742, Meléndez worked as a part of a team of artist dedicated to copying van Loo's prototypes of royal portraits for the domestic and overseas market, but at least he had a foothold in the palace. He had his artistic sights on a distinguished career as a court painter.

When the Real Academia de Bellas Artes de San Fernando was provisionally inaugurated in 1744, his father, Francisco, was made an honorary director of painting and Luis was among the first students to be admitted, he achieved outstanding results in drawing. The Academy was progressive in that it not only tolerated but also encouraged the 'lesser' genres, including still life. At this time, he was already an accomplished painter as proved by his superb self-portrait at the Louvre signed in 1747. However, this opportunity was marred by a petty quarrel; Luis’ father, Francisco, openly attacked the director of the Academy and claimed for himself the honor of being the founder. He had his son Luis personally delivered the inflammatory material to the Academy. Francisco was relieved of his teaching position and Luis was formally expelled from the Academy on June 15, 1748. Unlike his father, Luis professional status was precarious. Young and self-righteous, he now lacked the support of the Academy and his reputation suffered. Subsequently the young artist left for Rome and Naples to pursue other opportunities, he stayed in Italy from 1748 to 1752, painting some works, now lost, for Charles III of Spain, who was then King of Naples.

After a fire at the Alcázar of Madrid in 1753 destroyed scores of illuminated choir books, Francisco Melendez coaxed his 37-year-old son to come back to Spain to help paint new miniatures. Though Luis Meléndez eventually executed scores of still-lifes for the royal household, he was never able to secure an official appointment to serve the king.

Still Life with Melon and Pears, oil on canvas, Museum of Fine Arts, BostonLuis Meléndez worked out of Madrid and initially painted an array of subjects. In 1760 Meléndez' petition for the position of court painter was refused, despite the caliber of his early works. He painted some religious works but after 1760, he began specializing in still life, 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, later King Charles IV of Spain. Of this paintings thirty nine are today in the Museo del Prado, it is rare to find his work outside of Spain.

Despite his talent, Luis Meléndez lived in poverty for most of his life, in 1772 in a letter to the king he declared that he only owned his pencils. Unappreciated in his time, when he died in 1780, he was indigent.