Spanish Baroque Era Painter, 1599-1660 Spanish painter. He was one of the most important European artists of the 17th century, spending his career from 1623 in the service of Philip IV of Spain. His early canvases comprised bodegones and religious paintings, but as a court artist he was largely occupied in executing portraits, while also producing some historical, mythological and further religious works. His painting was deeply affected by the work of Rubens and by Venetian artists, especially Titian, as well as by the experience of two trips (1629-31 and 1649-51) to Italy. Under these joint influences he developed a uniquely personal style characterized by very loose, expressive brushwork. Although he had no immediate followers, he was greatly admired by such later painters as Goya and Manet  Related Paintings of Diego Velazquez :. | Christ and the Christian Soul (df01) | Le Comte-Duc d'Olivares (df02) | The Buffoon Pablo de Valladolid (df01) | L'Infante Marguerite (df02) | Meeting of Philip IV and Louis XIV at the Isle of Pheasants (df01) |
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Jacob Levecq
(1634 - 1675), was a Dutch Golden Age painter trained by Rembrandt. According to Houbraken, who was his pupil during the last 9 months of his life, he had been trained by Rembrandt, but inherited a sum of money when his parents died, that he used to take care of himself, his two unmarried sisters and a blind half-brother. Houbraken could not recall much of his painting style, since he had been mostly sick while he was living in the house, and he no longer painted actively. In his younger years Levecq travelled to Paris and Sedan where he painted portraits, and on his return to Dordrecht became a portrait painter in the manner of Jan de Baen. When he died, Houbraken inherited a third of his prints, but regretted the fact that as a young boy with little experience in such matters, he only chose prints by Lucas van Leyden and Albert Durer, and had left the French prints for others, and so was very glad that he had received one anyway by Charles le Brun.
FYT, Jan
Flemish Baroque Era Painter, 1611-1661 Flemish painter, draughtsman and etcher. He was apprenticed in Antwerp in 1621-2 to Hans van den Berch [Berghe] (not to be confused with Jan van den Bergh of Alkmaar) and probably completed his training with Frans Snyders. In 1629-30 Fyt became a master in the Antwerp Guild of St Luke, but he continued to work for Snyders until 1631. In 1633 and 1634 he was in Paris. According to his biographers, he then went to Italy; an Italian journey is confirmed by the fact that in 1650 he joined the Antwerp Guild of Romanists (exclusive to those who had visited Rome), of which he became the dean in 1652. He apparently worked in Rome, where he joined the Schildersbent and was given the nickname 'Goudvink' (Dut.: 'goldfinch'). In Venice, according to Orlandi, Fyt worked for the Sagredo and Contarini families. He is also thought to have visited Naples, Florence and Genoa, and Orlandi stated that he also went to Spain and London. By 5 September 1641 Fyt was back in Antwerp, where, apart from a brief trip to the northern Netherlands in 1642, he apparently remained for the rest of his career.
Morris, William
English Pre-Raphaelite Writer and Designer, 1834-1896 English designer, writer and activist. His importance as both a designer and propagandist for the arts cannot easily be overestimated, and his influence has continued to be felt throughout the 20th century. He was a committed Socialist whose aim was that, as in the Middle Ages, art should be for the people and by the people, a view expressed in several of his writings. After abandoning his training as an architect, he studied painting among members of the Pre-Raphaelites.