Vicente Lopez y Portana
(September 19, 1772, Valencia, Spain CJuly 22, 1850, Madrid, Spain) was a Spanish painter, considered the best portrait painter of his time.
Vicente Lepez y Portaña was born in Valencia on September 19, 1772. His parents were Cristebal Lepez Sanchordi and Manuela Portaña Meer. Vicente Lepez began formally studying painting in Valencia at the age of thirteen, he was a disciple of father Antonio de Villanueva, a Franciscan monk, and he studied at the Academy of San Carlos in his native city. He was seventeen when he won first prize in drawing and coloring receiving a scholarship to study in the prestigious Academia Real de Bellas Artes de San Fernando in Madrid. For the following three years in Madrid, he apprenticed with the Valencian painter, Mariano Salvador Maella. Vicente Lepez returned to Valencia in 1794 and subsequently became vice-director of painting at the Academy where he had studied as a boy. In 1795 he married Maria Piquer, they had two sons: Bernardo Lepez Piquer and Luis (1802-1865), who were also painters, following their father's style but with little accomplishments. In 1801 Lepez was named President of the Academy of San Carlos. Related Paintings of Vicente Lopez y Portana :. | Portrait of Charles IV of Spain | Ramon Maria Narvaez, Duke of Valencia | La infanta Luisa Carlota de Borbon | Portrait of Maria Francisca de Assis de Braganca | Portrat des Francisco de Goya | Related Artists: John Henry Twatchman1853-1902
John Henry Twatchman Galleries Francois LemoyneParis 1688-1737 Carel Fabritus1622-1654
Dutch
Carel Fabritus Locations
Painter. His oeuvre consists of a scant dozen paintings, since research has rigorously discounted many previously attributed works. These few paintings, however, document the painter unique development within his brief 12-year career. He is often mentioned as being the link between Rembrandt and the Delft school, particularly Pieter de Hooch and Jan Vermeer, whose depiction of light owes much to Fabritius late works in which his use of cool silvery colours to define forms in space marks a radical departure from Rembrandt use of chiaroscuro.
|
|
|