1598-1664 Spanish Francisco de Zurbaran Galleries Spanish baroque painter, active mainly at Llerena, Madrid, and Seville. He worked mostly for ecclesiastical patrons. His early paintings, including Crucifixion (1627; Art Inst., Chicago), St. Michael (Metropolitan Mus.), and St. Francis (City Art Museum, St. Louis), often suggest the austere simplicity of wooden sculpture. The figures, placed close to the picture surface, are strongly modeled in dramatic light against dark backgrounds, indicating the influence of Caravaggio. They were clearly painted as altarpieces or devotional objects. In the 1630s the realistic style seen in his famous Apotheosis of St. Thomas Aquinas (1631; Seville) yields to a more mystical expression in works such as the Adoration of the Shepherds (1638; Grenoble); in this decade he was influenced by Ribera figural types and rapid brushwork. While in Seville, Zurbur??n was clearly influenced by Velazquez. After c.1640 the simple power of Zurbaran work lessened as Murillo influence on his painting increased (e.g., Virgin and Child with St. John, Fine Arts Gall., San Diego, Calif.). There are works by Zurbar??n in the Hispanic Society of America, New York City; the National Gallery, Washington, D.C.; and the Philadelphia Museum of Art..  Related Paintings of Francisco de Zurbaran :. | St. Franciscus in meditation | Franziskus | immaculate virgin | Vision des Alonso Rodriguez | Saint Margaret, dressed as a shepherdess. |
Related Artists:
WEYDEN, Rogier van der
Netherlandish Northern Renaissance Painter, ca.1400-1464 major early Flemish master, known also as Roger de la Pasture. He is believed to have studied with Robert Campin. His early works also show the influence of Jan van Eyck. Van Eyck, however, had been a master at objective rendering of detail, whereas Roger in his work portrayed emotions with an assurance that has not been surpassed. His ability to depict piety is reflected in the early masterpiece Descent from the Cross (c.1435; Prado); he depicted with significant restraint the profound grief of the mourners grouped around the tragic figure of Jesus. His composition strongly affected later representations of the theme. Roger became City Painter in Brussels in 1436. He then produced a series of undated altarpieces including the Last Judgment (hospital, Beaune), the Braque Triptych (Louvre), Crucifixion with Donors (Vienna), and Adoration of the Magi (Berlin), which vary in execution from a stress on sumptuous details to a more sculptural rendering of the figures. Roger is believed to have made a pilgrimage to Italy in the holy year 1450. Whether this supposed excursion had any effect on his style is much debated. It has been shown that his Entombment (Uffizi) bears an affinity to the Tuscan treatment of the subject, particularly by Fra Angelico, and that Roger's Virgin and Child with Saints (Frankfurt) has a strong resemblance to the Italian religious art of the day. His style is, however, highly individual. His religious paintings and his portraits are characterized by a straightforward monumentality. The portraits, such as that of a young lady (National Gall. of Art, Washington, D.C.) and of Francesco d'Este (Metropolitan Mus.) exhibit a simple clarity of contour and psychological penetration. Other notable works are his St. Luke Painting the Virgin, of which a version or replica is in the Museum of Fine Arts, Boston, the Crucifixion
C.R. Leslie
English genre painter , 1794-1859 was an American artist best known for his cartoons and caricatures of actors and other celebrities. Though his work was heavily in demand through the 1920s and is often considered to epitomize the era, his personal life was troubled by mental illness, and he was nearly forgotten soon after his suicide, shortly before his fortieth birthday. English genre painter, was born in London on 19 October 1794. His parents were American, and when he was five years of age he returned with them to their native country. They settled in Philadelphia, where their son was educated and afterwards apprenticed to a bookseller. He was, however, mainly interested in painting and the drama, and when George Frederick Cooke visited the city he executed a portrait of the actor from recollection of him on the stage, which was considered a work of such promise that a fund was raised to enable the young artist to study in Europe. He left for London in 1811, bearing introductions which procured for him the friendship of West, Beechey, Allston, Coleridge and Washington Irving, and was admitted as a student of the Royal Academy, where he carried off two silver medals. At first, influenced by West and Fuseli, he essayed high art, and his earliest important subject depicted Saul and the Witch of Endor; but he soon discovered his true aptitude and became a painter of cabinet-pictures, dealing, not like those of David Wilkie, with the contemporary life that surrounded him, but with scenes from the great masters of fiction, from Shakespeare and Cervantes, Addison and Moliere, Swift, Sterne, Fielding and Smollett. Of individual paintings we may specify Sir Roger de Coverley going to Church (1819); May-day in the Time of Queen Elizabeth (1821); Sancho Panza and the Duchess (1824); Uncle Toby and the Widow Wadman (1831); La Malade Imaginaire, act iii. sc. 6 (1843); and the Dukes Chaplain Enraged leaving the Table, from Don Quixote (1849).
Ulrika Pasch
(10 July 1735 - 2 April 1796), also known as Ulla Pasch, was a Swedish painter and miniaturist. She was one of few female artists known in Scandinavia before the 19th century. She was a member of the Royal Swedish Academy of Arts (1773). Ulrika Pasch was born in an artistic family, daughter of the painter Lorens Pasch the Elder, and sister of the future painter Lorens Pasch the Younger. Her uncle, Johan Pasch, was also a painter. In the 1750s, when her brother was studying art abroad, her father's career declined severely, and Ulrika was forced to become a housekeeper in the home of her maternal aunt's widower. Her uncle however allowed her to spend a lot of time developing her artistic talent, and from 1756, she had become a professional portrait painter and was able to support her father and her sister in this way. After her father's death, she lived with her sister and set up her own studio. When her brother returned to Sweden in 1766, she had been a professional artist for ten years and her clientele had moved from the middle class to the upper classes and the aristocracy. Ulrika Pasch and her brother then worked together as professional artists, shared their studio and guided each other in their work; their collaboration was one of mutual respect and harmony, and she is known to have helped him painting the textiles and costumes, a work he found tiring. Their baby-sister Helena Sofia (1744-96) took care of their household; she is described as somewhat talented in art as well, but she spent her life as her siblings "dutiful" house-keeper, and is said to have been deeply devoted to especially Ulrika.