Spanish 1618-1682 Bartolome Esteban Murillo Galleries Murillo began his art studies under Juan del Castillo in Seville. Murillo became familiar with Flemish painting; the great commercial importance of Seville at the time ensured that he was also subject to influences from other regions. His first works were influenced by Zurbaran, Jusepe de Ribera and Alonso Cano, and he shared their strongly realist approach. As his painting developed, his more important works evolved towards the polished style that suited the bourgeois and aristocratic tastes of the time, demonstrated especially in his Roman Catholic religious works. In 1642, at the age of 26 he moved to Madrid, where he most likely became familiar with the work of Velazquez, and would have seen the work of Venetian and Flemish masters in the royal collections; the rich colors and softly modeled forms of his subsequent work suggest these influences. He returned to Seville in 1645. In that year, he painted thirteen canvases for the monastery of St. Francisco el Grande in Seville which gave his reputation a well-deserved boost. Following the completion of a pair of pictures for the Seville Cathedral, he began to specialise in the themes that brought him his greatest successes, the Virgin and Child, and the Immaculate Conception. After another period in Madrid, from 1658 to 1660, he returned to Seville. Here he was one of the founders of the Academia de Bellas Artes (Academy of Art), sharing its direction, in 1660, with the architect, Francisco Herrera the Younger. This was his period of greatest activity, and he received numerous important commissions, among them the altarpieces for the Augustinian monastery, the paintings for Santa Mar??a la Blanca (completed in 1665), and others.  Related Paintings of Bartolome Esteban Murillo :. | Rosary of the Virgin Mary holding roses | San Francisco and the Virgin and Child | Shell and the children | Libertine away from home | Boys foot of the slope |
Related Artists:
Gerrit van Honthorst
1590-1656 Dutch Gerrit Van Honthorst Galleries Gerard van Honthorst (November 4, 1592 - April 27, 1656), also known as Gerrit van Honthorst and Gherardo della Notte, was a Dutch painter of Utrecht. He was brought up at the school of Abraham Bloemaert, who exchanged the style of the Franckens for that of the pseudo-Italians at the beginning of the 16th century. Margareta Maria de Roodere and Her Parents by Gerrit van Honthorst (1652) Oil on canvas, 140 x 170 cm. Centraal Museum, UtrechtInfected thus early with a mania which came to be very general in the Netherlands, Honthorst went to Italy in 1616, where he copied the naturalism and eccentricities of Michelangelo da Caravaggio. Home again about 1620, after acquiring a considerable practice in Rome, he set up a school at Utrecht which flourished exceedingly. Together with his colleague Hendrick ter Brugghen, he represented the so-called Dutch Caravaggisti. In 1623 he was president of his gild at Utrecht, where he had married his cousin. He soon became so fashionable that Sir Dudley Carleton, then English envoy at The Hague, recommended his works to the earl of Arundel and Lord Dorchester. In 1626 he received a visit from Rubens, whom he painted as the honest man sought for and found by Diogenes. The queen of Bohemia, sister of Charles I of England and electress palatine, being in exile in the Netherlands, gave Honthorst her countenance and asked him to teach her children drawing; and Honthorst, thus approved and courted, became known to her brother Charles I, who invited him to England in 1628. There he painted several portraits, and a vast allegory, now at Hampton Court, of Charles and his queen as Diana and Apollo in the clouds receiving the duke of Buckingham as Mercury and guardian of the king of Bohemia's children. Charles I, whose taste was flattered alike by the energy of Rubens and the elegance of Van Dyck, was thus first captivated by the fanciful mediocrity of Honthorst, who though a poor executant had luckily for himself caught, as Lord Arundel said, much of the manner of Caravaggio's colouring, then so much esteemed at Rome.
LINGELBACH, Johannes
Dutch Baroque Era Painter, 1622-1674 German painter, active in the Netherlands and Italy. By 1634 his family had settled in Amsterdam, where presumably Lingelbach trained as a painter. According to Houbraken, he visited France in 1642 and arrived in Italy two years later. However, he is not mentioned in any document of 1644, although he is recorded in Rome from 1647 to 1649. The artist left Rome in 1650 and by 1653 was back in Amsterdam, where he remained until his death. Lingelbach is perhaps the only one of the Dutch Italianates with a catalogue of numerous signed and dated works to document his artistic development. The first two signed works are The Blacksmith (1650; Rome, Melmeluzzi priv. col., see Briganti, Trezzani and Laureati, fig. 10.1) and Self-portrait with Violin (1650; Zurich, Ksthaus). Unfortunately no certain works survive from the previous years. Kren (1982) attributed a series of works depicting Roman trades, some formerly ascribed to Pieter van Laer, to Lingelbach's early career. The original group consisted of three small paintings: the Acquavita-seller, the Cake-seller and The Tobacconist (all Rome, Pal. Corsini). While these paintings have some striking points in common with the Melmeluzzi Blacksmith of 1650 and the signed Dentist on Horseback (1651; Amsterdam, Rijksmus.), it is still uncertain whether they belong to Lingelbach's pre-1650 work or are by another hand
Anton Genberg
painted Summer day 1896