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 :. | Return of the Prodigal Son | Angels' Kitchen | Assumption of the Virgin | The Pie Eater | San Mageleina |
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Thomas Patch
1725 - 1782 was an English painter, engraver and caricaturist. He made a living by basing himself in Italy and undertaking commissions from rich young British men on Grand tours.His paintings today are in the Royal Collection and various museums. Patch was thrown out of Rome for a homosexual act. Patch was born in Exeter in 1725, the son of a doctor. He had not completed his medical studies when he came to Rome in 1747 as a grand tourist and where he met Joshua Reynolds. Initially he worked for Joseph Vernet, creating landscapes of Tivoli and pastiches of Vernet's work. He was forced to leave Rome after some homosexual He was in Florence in 1755, where he was commissioned to paint people on their Grand tours. Here he was assisted by his friendship with Sir Horace Mann, who was the British envoy and therefore a point of contact with British tourists arriving in Florence. While there he completed studies of human physiognomy, looking at the expressions and facial types as well as completing portraits of many in the British society in Florence. He also studied the old masters and published studies of them. Towards the end of his life his output of paintings slowed.Patch was also known to be an art dealer. In about 1763, Patch completed three views of Florence that are now part of the Royal Collection. They are thought to have been bought by George III. On October 19, 1767, he was enterprising enough to witness the eruptions of Mount Vesuvius which he painted from both the land and the sea.
John Christian Schetky
(1778-1874) Scottish painter. Schetky came from a cultured family: his father, Johann (1737-1824), was a German composer, and his mother, Maria, was the trumpeter Joseph Reinagle's sister. He took drawing lessons from Alexander Nasmyth and received a good education in Edinburgh before embarking on a Continental tour in 1801. After a spell as a drawing-master at the Royal Military College, Great Marlow, he was appointed Professor of Drawing at the Royal Naval College, Portsmouth, in 1811, a post he held for 25 years. He exhibited regularly at the Royal Academy between 1805 and 1872, his subjects ranging from ship portraits and royal embarkations to reconstructions of earlier sea battles of the time of Nelson. In 1820 he was made Marine Painter in Ordinary to George IV and was granted the same title by Queen Victoria in 1844.
Melendez, Luis Eugenio
Spanish, born in Italy, approx. 1716-1780