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 :. | Still Life | Hugo im Kartauserkloster | Unbefleckte Empfangnis | bruno in ecstasy | david |
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Fra Bartolomeo
Italian High Renaissance Painter, 1472-1517, also known as Baccio della Porta, was an Italian Renaissance painter of religious subjects. He was born in Savignano di Prato, Tuscany. He received the nickname of Baccio della Porta for his house was near the Porta ("Gate") San Pier Gattolini. Starting from 1483 or 1484, by recommendation of Benedetto da Maiano, he apprenticed in the workshop of Cosimo Rosselli. In 1490 or 1491 he began a collaboration with Mariotto Albertinelli. In the late 1490s Baccio was drawn to the teachings of Fra Girolamo Savonarola, who denounced what he viewed as vain and corrupt contemporary art. Savonarola argued for art serving as a direct visual illustration of the Bible to educate those unable to read the book. From 1498 is his famous portrait of Savonarola, now in the Museo Nazionale di San Marco in Florence. The following year he was commissioned a fresco of the Universal Judgement for the Ospedale di Santa Maria Nuova, completed by Albertinelli and Giuliano Bugiardini when Baccio became a Dominican friar on July 26, 1500. The following year he entered the convent of San Marco. He renounced painting for several years, not resuming until 1504 when he became the head of the monastery workshop in obedience to his superior. In that year he began a Vision of St. Bernard for Bernardo Bianco's family chapel in the Badia Fiorentina, finished in 1507.
Anna Bilinska-Bohdanowicz
(1857-1893) was a Polish painter, known for her portraits. She was born as Anna Biliska, a daughter of Polish doctor in Ukraine, where she spent her childhood. She lived with her father in Russia, before studying music and art in Warsaw. She went later to study at the Academie Julian in Paris. She lived in France until 1892, when she married a medical doctor named Bohdanowicz and she took his name (Anna Bilieska-Bohdanowicz). They returned to Warsaw after their marriage, where she died a year later of heart attack. Her paintings are known from the reproductions of her portraits of women and often reproduced view of the Unter den Linden in Berlin from 1890.
Osbert, Alphonse
French Symbolist Painter, 1857-1939 French painter. He studied at the Ecole des Beaux-Arts and in the studios of Henri Lehmann, Fernand Cormon and L?on Bonnat. His Salon entry in 1880, Portrait of M. O. (untraced), reflected his early attraction to the realist tradition of Spanish 17th-century painting. The impact of Impressionism encouraged him to lighten his palette and paint landscapes en plein air, such as In the Fields of Eragny (1888; Paris, Y. Osbert priv. col.). By the end of the 1880s he had cultivated the friendship of several Symbolist poets and the painter Puvis de Chavannes, which caused him to forsake his naturalistic approach and to adopt the aesthetic idealism of poetic painting. Abandoning subjects drawn from daily life, Osbert aimed to convey inner visions and developed a set of pictorial symbols. Inspired by Puvis, he simplified landscape forms, which served as backgrounds for static, isolated figures dissolved in mysterious light. A pointillist technique, borrowed from Seurat, a friend from Lehmann's studio, dematerialized forms and added luminosity. However, Osbert eschewed the Divisionists' full range of hues in his choice of blues, violets, yellows and silvery green. Osbert's mysticism is seen in his large painting Vision