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 :. | St Jerome (df01) | gammal kvinna tillagar agg | Philip IV in Armour (df01) | Las Meninas | Une Sibylle (df02) |
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George Adolphus Storey
(1834-1919), Painter was an English portrait painter, genre painter and illustrator. Storey was born in London, but educated in Paris. When he returned to London, he worked briefly for an architect before studying under J. M. Leigh and J.L. Dulong. Though not a pupil he was also encouraged by William Behnes the sculptor, whose studio he visited. He exhibited at the Royal Academy from 1852 and studied at the Royal Academy schools from 1854. He was strongly incluenced by the Pre-Raphaelites but gave them up under influence of Charles Robert Leslie. Storey worked in North London, establishing a reputation as a genre and portrait painter, and also as an illustrator. He drew elegant pictures of middle class people for love stories and the like. Storey became ARA in 1875 and was a member of the Arts Club from 1874-95. He exhibited at the British Institution, the Royal Society of British Artists in Suffolk Street and the New Watercolour Society. He also published his autobiography in 1899, containing valuable information about the St John's Wood Clique, of which he was a member until he moved to Hampstead. From 1900, he was also the Professor of Perspective at the Royal Academy, and became RA in 1914.
John William Godward
English 1861-1922 Godward was a Victorian Neo-classicist, and therefore a follower in theory of Frederic Leighton. However, he is more closely allied stylistically to Sir Lawrence Alma-Tadema, with whom he shared a penchant for the rendering of Classical architecture, in particular, static landscape features constructed from marble. The vast majority of Godward's extant images feature women in Classical dress, posed against these landscape features, though there are some semi-nude and fully nude figures included in his oeuvre (a notable example being In The Tepidarium (1913), a title shared with a controversial Alma-Tadema painting of the same subject that resides in the Lady Lever Art Gallery). The titles reflect Godward's source of inspiration: Classical civilisation, most notably that of Ancient Rome (again a subject binding Godward closely to Alma-Tadema artistically), though Ancient Greece sometimes features, thus providing artistic ties, albeit of a more limited extent, with Leighton. Given that Classical scholarship was more widespread among the potential audience for his paintings during his lifetime than in the present day, meticulous research of detail was important in order to attain a standing as an artist in this genre. Alma-Tadema was, as well as a painter, an archaeologist who attended historical sites and collected artefacts that were later used in his paintings: Godward, too, studied such details as architecture and dress, in order to ensure that his works bore the stamp of authenticity. In addition, Godward painstakingly and meticulously rendered those other important features in his paintings, animal skins (the paintings Noon Day Rest (1910) and A Cool Retreat (1910) contain superb examples of such rendition) and wild flowers (Nerissa (1906), illustrated above, and Summer Flowers (1903) are again excellent examples of this). The appearance of beautiful women in studied poses in so many of Godward's canvases causes many newcomers to his works to categorise him mistakenly as being Pre-Raphaelite, particularly as his palette is often a vibrantly colourful one. However, the choice of subject matter (ancient civilisation versus, for example, Arthurian legend) is more properly that of the Victorian Neoclassicist: however, it is appropriate to comment that in common with numerous painters contemporary with him, Godward was a 'High Victorian Dreamer', producing beautiful images of a world which, it must be said, was idealised and romanticised, and which in the case of both Godward and Alma-Tadema came to be criticised as a world-view of 'Victorians in togas'.
STRIGEL, Bernhard
German Northern Renaissance Painter, ca.1460-1528..Painter, son or nephew of Hans Strigel II. His training with Hans Striegel II shows stylistically in his early works in the Grisons, e.g. the Last Judgement (1486; Brigels, pilgrimage chapel of St Eusebius) and an altarpiece at Disentis (1489; St Johann Baptist). In the 1480s and 1490s he also worked in the studio of Ivo Strigel. Motifs in his pictures stem from engravings by Martin Schongauer and from Ulm book woodcuts. He met Bartholomus Zeitblom as a fellow worker on the high altar (1493-4) of Blaubeuren Abbey, both being influenced by Netherlandish art: Zeitblom by Rogier van der Weyden but Strigel primarily by Dieric Bouts. This influence is also seen in his Adoration of the Magi altarpiece (c. 1500; Memmingen, Stedtmus.). The altar of the Virgin for the monastery at Salem (1507-8; Salem, Schloss) has links with D?rer's graphic work: an increasing three-dimensionality and monumentalization of the objects and figures, and their disposition in space.