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.  Related Paintings of VELAZQUEZ, Diego Rodriguez de Silva y :. | Puzzle | The Needlewoman drg | Duke | Court Dwarf Don Antonio el Ingl s set | Infante Don Carlos ar |
Related Artists:
Paxton, William McGregor
American Painter, 1869-1941 was an American Impressionist painter. Born in Baltimore, the Paxton family came to Newton Corner in the mid-1870s, where William's father James established himself as a caterer. At 18, William won a scholarship to attend the Cowles Art School, where he began his art studies with Dennis Miller Bunker. Later he studied with Jean-L??on G??rôme in Paris and, on his return to Boston, with Joseph DeCamp at Cowles. There he met his future wife Elizabeth Okie, who also was studying with DeCamp. After their marriage, William and Elizabeth lived with his parents at 43 Elmwood Street, and later bought a house at 19 Montvale Road in Newton Centre. Paxton, who is best known as a portrait painter, taught at the Museum School from 1906 to 1913. Along with other well known artists of the era, including Edmund Charles Tarbell and Frank Benson, he is identified with the Boston School. Like many of his Boston colleagues, Paxton found inspiration in the work of the seventeenth-century Dutch painter Johannes Vermeer. Paxton was fascinated not only with Vermeer's imagery, but also with the system of optics he employed. He studied Vermeer's works closely, and discovered that only one area in his compositions was entirely in focus, while the rest were somewhat blurred. Paxton ascribed this peculiarity to "binocular vision," crediting Vermeer with recording the slightly different point of view of each individual eye that combine in human sight. He began to employ this system in his own work, including The New Necklace, where only the gold beads are sharply defined while the rest of the objects in the composition have softer, blurrier edges.
George Earle
English , born May 25, 1803, London, Eng. -died Jan. 18, 1873, Torquay, Devonshire
William Page
1811-1885 William Page studied at Phillips Academy, Andover in 1828-29 (not the Andover Theological Seminary on the same campus, as is commonly asserted). A man of mercurial temperament, Page was lacking in religious belief in youth, but later became a Swedenborgian. He received his training in art from Samuel F. B. Morse (a Phillips Academy graduate) at the National Academy of Design, and in 1836 he became a National Academician. In the 1830s and 40s, Page was based in New York, achieving renown there as a portraitist. Living in Rome from 1849 to 1860, he befriended Robert and Elizabeth Browning, whose portraits he painted. He was also a friend of William Wetmore Story and of James Russell Lowell, who dedicated his first collection of poems to him in 1843. In 1873, Page became president of the National Academy of Design. His work includes a painting of Admiral David Farragut at the Battle of Mobile Bay, the Holy Family (now at the Boston Athenaeum) and The Young Merchants (now at Pennsylvania Academy of the Fine Arts in Philadelphia), as well as countless portraits, including portraits of John Quincy Adams, James Russell Lowell and William Shakespeare, based on the Becker death mask. He also wrote A New Geometrical Method of Measuring the Human Figure (1860). He died in 1885, aged 74 on Staten Island. Although extravagantly praised as an artist from the 1830s into the 1860s, Page's reputation suffered in later life because he changed his style so frequently and, more particularly, because technical characteristics of his painting method soon caused much of his work to darken excessively.