1734-97 English painter. He painted portraits, landscapes and subjects from literature, but his most original and enduringly celebrated works are a few which reflect the philosophical and technological preoccupations of the later 18th century and are characterized by striking effects of artificial light. He was the first major English painter to work outside the capital all his life: apart from spells in Liverpool (1768-71), Italy (1773-5) and Bath (1775-7), he lived and worked in his native Derby, though exhibiting in London at both the Society of Artists (1765-76, 1791) and the Royal Academy (1778-82, 1789-90, 1794).   Related Paintings of Joseph wright of derby :. | Penelope Unravelling Her Web | Self-Portrait at the Age of about Forty | The Cloister of San Cosimato | Lake Nemi at Sunset | Portrait of Miss Frances Warren |
Related Artists:
George Turner
1750-1843. Turner was born in Cromford, Derbyshire in England, but then moved to Derby with his family. He showed an early talent for music and art - encouraged by his father Thomas Turner, who although a tailor by profession was also an art enthusiast. Turner was largely self-taught and went on to become a professional painter and art teacher. A quiet scene in Derbyshire (1885)Turner lived in Derbyshire all his life. In 1865 he married Eliza Lakin (1837 - 1900), becoming a part-time farmer and raising four children at Walnut farm in Barrow upon Trent.[1] After Eliza's death in 1900, he moved to Kirk Ireton and later married fellow artist Kate Stevens Smith (1871-1964) - they set up home in Idridgehay where he died in 1910. His son William Lakin Turner (1867-1929) also became a landscape oil painter of repute. Turner worked in oils and painted bucolic scenes mainly of his native Derbyshire, leaving an important legacy of hundreds of pictures depicting the English countryside before the coming of mechanisation, the motor car and urban expansion. His work was exhibited in Nottingham and Birmingham. Turner served on the Art Committee of Derby Art Gallery and both his and his son's paintings are included in the city's collection.
Anthonis Mor
(c. 1517 - 1577) was a Netherlandish portrait painter, much in demand by the courts of Europe. He has also been referred to as Antoon, Anthonius, Anthonis, or Mor van Dashorst, Antonio Moro, Anthony More, etc., but signed most of his portraits as, Anthonis Mor. Mor was born in Utrecht, Netherlands by some estimation between 1516 and 1520. What is known of his early life is that his artistic education commenced under Jan van Scorel. His earliest work is probably a portrait at Stockholm, dated 1538. A group of Knights of St. John, at Utrecht, supposed to have been painted about 1541; a picture of two pilgrims at the Gemäldegalerie, Berlin, dated 1544; together with the portrait of an unknown woman, in the Lille gallery, were probably among his earliest works although their authenticity has not been proved. In 1547, he was received as a member of the Venerable Guild of St. Luke at Antwerp, and shortly afterwards (about 1548) he attracted the attention of Cardinal Granvelle, Bishop of Arras, who became his steady patron. Of the portraits executed during the early period of his career as Granvelle's protege, two are especially notable: one of the bishop himself (in the imperial gallery in Vienna), and one of the Duke of Alba, which now belongs to the Hispanic Society of New York. Between 1549 and 1550 Prince Philip II of Spain (1527-1598) traveled around the Netherlands to present himself as the future ruler. Mor painted his portrait in Brussels in 1549. He probably visited Italy (when exactly is not known) where he copied some works by Titian, notably the Danaë.
ZURBARAN Francisco de
Spanish Baroque Era Painter, 1598-1664 Spanish painter. He was apprenticed in 1614 to a painter in Sevilla (Seville), where he lived until 1658 when he moved to Madrid. He had a few royal commissions but remained throughout his life a provincial painter of religious pictures. His apostles, saints, and monks are painted with almost sculptural modeling, and his emphasis on the minutiae of their dress lends verisimilitude to their miracles, visions, and ecstasies. This distinctive combination of naturalism with religious sensibility conforms to the guidelines for Counter-Reformation artists outlined by the Council of Trent. He had numerous commissions from monasteries and churches throughout southern Spain, and many of his works were sent to Lima, Peru.