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 :. | Dolorosa | The Pie Eater | The Pie Eater (mk08) | Half month's pure conception of Our Lady | St.Thomas of Villanueva Distributing Alms |
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LINARD, Jacques
French Baroque Era Painter, ca.1600-1645 French painter. He was in Paris by 1626, and his first securely attributed still-life work is dated the following year. He lived in the Saint-Germain-des-Pr?s district, where a number of French still-life painters such as Louise Moillon and Lubin Baugin worked alongside Flemish artists specializing in this genre. In 1631 he was created Peintre et Valet de Chambre du Roi, a post that guaranteed him a degree of financial independence. Linard's works of 1627-44 were mainly of fruit and flowers; with Louise Moillon, however, he was among the first French artists to combine successfully the female form with still-life elements, as, for example, in Woman with Flowers and Woman with Fruit (both Paris, priv. col., see Far?, 1974, pp. 22-3). A painting such as Basket of Flowers (Paris, Louvre) owes something to Flemish prototypes in the anachronistic grouping of flowers that span several months. Patiently recording the flowers as they bloomed, and working on the picture from a series of drawings and sketches, Linard demonstrated his commitment to working from nature. However
Edith Corbet
(28 December 1846 Goulburn, New South Wales - 1920 Hampstead), was a Victorian landscape painter, having close associations with the Macchiaioli group (also known as the Tuscans or Etruscans), who, in a break with tradition, painted outdoors in order to capture natural light effects and favoured a panoramic format for their paintings. Edith was born in Goulburn, New South Wales, Australia, the second daughter and fifth child of Henry Edenborough and Margaret Stedman. The Edenborough family came from Leicestershire, but relocated to London, where they became prosperous merchants in hosiery and silk. Henry Edenborough was a sea captain and made several voyages to Australia between 1833 and 1837, deciding to settle there in 1840. He acquired a farm south of Goulburn known as 'Wollogorang' and built "a handsome two-storey brick and stone rubble building notable for its interesting French windows and its impressive outbuildings". This was the family home until 1854 when Henry and Margaret sold the property to John William Chisholm, and returned to England with their family of six children. Henry died in 1855 at Chesham Lodge in Surrey, aged 43. In 1861 the British census records show Edith, 14 years old, living with her widowed mother in Kensington. The 1871 census shows her living with her sister Annie, noted as head of household, at 5 Sheffield Gardens in Kensington, in which year she was exhibiting her work in London. She married the painter Arthur Murch and moved to Rome where she painted with Giovanni Costa, leader of the Macchiaioli group. In 1876 they both stayed in Venice. Olivia Rossetti Agresti wrote: "Costa had a very high opinion of this artist's gifts and used to remember with pleasure how on that occasion they used to go out together to paint from nature at Fusino" (Agresti, 1904). Edith Murch frequently exhibited from 1880 to 1890 at the Grosvenor Gallery and the New Gallery. In 1891 she married Matthew Ridley Corbet, one of the Macchiaioli group's leading members, after which she exhibited mainly at the Royal Academy, visiting Italy and living in London for the remainder of her life.
SCHEERE, Herman
German miniaturist , active 1403-1419 in England