Italian Baroque Era Painter, 1576-1622 Italian painter, active mainly in Emilia. His signature was an L placed across a sword [Ital. spada=sword]. His work shows influence of the grand manner of the Carracci, as in The Burning of Heretical Books (San Domenico, Bologna), and of Caravaggio's naturalism, seen in dramatic religious and genre scenes such as The Way to Calvary (Parma). In his late works his manner became softer and warmer under Correggio's influence. An example is The Marriage of St. Catherine (Parma).  Related Paintings of SPADA, Lionello :. | Bildnis des Garnet Joseph Wolseley | Spring | Elisabeth Grossmann,La Beautiful Bateliere of Brienz | Who brought the soldiers from the Assyrian Naxi dial II | Study of female-s head with hand |
Related Artists:
Bartolome Esteban Murillo
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.
Francisco Collantes
(1599-1656) was a Spanish Baroque era painter. Collantes was born in Madrid but sought influence from Jusepe de Ribera and the Neapolitan School. He was also influenced by 16th century Venetian painters and was renowned for his landscapes and biblical scenes.
Henry Walton
British Painter , c 1746-1813 He studied in London under Johan Zoffany c. 1769, after which he completed his training at the Maiden Lane Academy. It was probably Zoffany who introduced Walton to the conversation piece, a genre in which he was to specialize. The Cricket Scene at Harrow School (1771; priv. col., see 1963 exh. cat., no. 1) reveals Walton's debt to Zoffany, but it also shows him to be an exceptional colourist and able to compose his figures with a sense of rare warmth and intimacy. By c. 1778, when he painted the Rev. Charles Tyrrell with his Family