1598-1664 Spanish Francisco de Zurbaran Galleries Spanish baroque painter, active mainly at Llerena, Madrid, and Seville. He worked mostly for ecclesiastical patrons. His early paintings, including Crucifixion (1627; Art Inst., Chicago), St. Michael (Metropolitan Mus.), and St. Francis (City Art Museum, St. Louis), often suggest the austere simplicity of wooden sculpture. The figures, placed close to the picture surface, are strongly modeled in dramatic light against dark backgrounds, indicating the influence of Caravaggio. They were clearly painted as altarpieces or devotional objects. In the 1630s the realistic style seen in his famous Apotheosis of St. Thomas Aquinas (1631; Seville) yields to a more mystical expression in works such as the Adoration of the Shepherds (1638; Grenoble); in this decade he was influenced by Ribera figural types and rapid brushwork. While in Seville, Zurbur??n was clearly influenced by Velazquez. After c.1640 the simple power of Zurbaran work lessened as Murillo influence on his painting increased (e.g., Virgin and Child with St. John, Fine Arts Gall., San Diego, Calif.). There are works by Zurbar??n in the Hispanic Society of America, New York City; the National Gallery, Washington, D.C.; and the Philadelphia Museum of Art..  Related Paintings of Francisco de Zurbaran :. | blessed john houghton | Tassen und Vasen | Adoration of the Shepherds | christ recovers his tunic after being whipped | st. thomas. |
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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
Pierre de Valenciennes
Toulouse 1750-Paris 1819 .French painter. He trained at the academy in Toulouse under the history painter Jean-Baptiste Despax (1709-73). In 1769 he went to Italy for the first time, with Mathias Du Bourg, a councillor at the Toulouse parliament. Du Bourg introduced him to Etienne-Fran?ois, Duc de Choiseul, a keen patron of the arts, who in turn recommended him to Gabriel-Fran?ois Doyen, one of the leading history painters in Paris, whose studio he entered in 1773. Doyen gave his pupil a sense of the elevated ideals of history painting but was also sympathetic to the lesser genre of landscape. Valenciennes presumably frequented Choiseul's country seat at Chanteloup, near Amboise, meeting there the landscape painters Hubert Robert and Jean Hoeel, both proteg's of Choiseul. His early interest in the native landscape can be seen in his sketchbooks (Paris, Louvre), especially one dated 1775 that contains drawings made at Amboise, Compiegne and Fontainebleau
Regis-Francois Gignoux
1816-1882 French/American Regis-Francois Gignoux Gallery French painter who was active in the United States from 1840 to 1870. He was born in Lyon, France and studied at the École des Beaux-Arts under with the French painter Paul Delaroche (1797-1856). Gignoux arrived in the United States from France in 1840 and opened a studio in Brooklyn, New York. He was a member of the National Academy of Design, and was the first president of the Brooklyn Art Academy. George Inness (1825-1894) and John LaFarge (1835-1910) were both his students. Gignoux was the only member of the Hudson River School to specialize in snow scenes. He returned to France in 1870 and died in Paris in 1882. The Brooklyn Museum, the Corcoran Gallery of Art (Washington, DC), the Georgia Museum of Art (University Of Georgia, Athens), the High Museum of Art (Atlanta, Georgia), the Honolulu Academy of Arts, the Hood Museum of Art (Dartmouth College, Hanover, New Hampshire), the Museum of Art at Brigham Young University (Provo, Utah), the Museum of Fine Arts, Boston, the Nelson-Atkins Museum of Art (Kansas City, Missouri), the New York Historical Society (New York City), the Parrish Art Museum (Southampton, New York), Smith College Museum of Art (Northampton, Massachusetts), the United States Capital Art Collection (Washington, D. C.), the Walters Art Museum (Baltimore, Maryland) and the Watson Gallery (Wheaton College, Norton, Massachusetts) are among the public collections holding work by R??gis François Gignoux.