Spanish 1618-1682 Bartolome Esteban Murillo Galleries Murillo began his art studies under Juan del Castillo in Seville. Murillo became familiar with Flemish painting; the great commercial importance of Seville at the time ensured that he was also subject to influences from other regions. His first works were influenced by Zurbaran, Jusepe de Ribera and Alonso Cano, and he shared their strongly realist approach. As his painting developed, his more important works evolved towards the polished style that suited the bourgeois and aristocratic tastes of the time, demonstrated especially in his Roman Catholic religious works. In 1642, at the age of 26 he moved to Madrid, where he most likely became familiar with the work of Velazquez, and would have seen the work of Venetian and Flemish masters in the royal collections; the rich colors and softly modeled forms of his subsequent work suggest these influences. He returned to Seville in 1645. In that year, he painted thirteen canvases for the monastery of St. Francisco el Grande in Seville which gave his reputation a well-deserved boost. Following the completion of a pair of pictures for the Seville Cathedral, he began to specialise in the themes that brought him his greatest successes, the Virgin and Child, and the Immaculate Conception. After another period in Madrid, from 1658 to 1660, he returned to Seville. Here he was one of the founders of the Academia de Bellas Artes (Academy of Art), sharing its direction, in 1660, with the architect, Francisco Herrera the Younger. This was his period of greatest activity, and he received numerous important commissions, among them the altarpieces for the Augustinian monastery, the paintings for Santa Mar??a la Blanca (completed in 1665), and others.  Related Paintings of Bartolome Esteban Murillo :. | Trinity | Infant Christ Offering a Drink of Water to St.Fohn | Virgin and the Son | St. Augustine | Erscheinung der unbefleckten Maria |
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SERODINE, Giovanni
Italian Baroque Era Painter, 1600-1630 Italian painter and stuccoist. His family moved from Ascona on Lake Maggiore to Rome, where his father is recorded in 1595. It is probable that Serodine was born there. His first work was probably done in association with his brother Giovanni Battista Serodine (1589/90-1630), a stuccoist active in Rome, where he carved a Virgin and Child (1614) for the fa?ade of S Francesca Romana, and in Ascona, where he restored the family home and decorated it with stucco (1620). The design and stucco decoration of the church of the Madonna della Fortuna on Monte Verit? (Ascona) are attributed to him, though it is probable that Giovanni (who is recorded in Ascona in 1620) collaborated in the work. The first of Giovanni's documented official commissions, however, was for the stucco decoration and apsidal paintings in the chuch of the Concezione at Spoleto, where he worked with Sante Ghezzi (Corradini; Toscano). These murals, painted in tempera and completed in July 1624, are sketchy and clumsily executed, quite distinct in their inferior quality and naive piety from the rest of Serodine's work. They are probably his first attempts at painting,
Henri Rouart
France (1833 -1912 ) - Painter
Maarten van Heemskerck
(1498 - 1 October 1574) was a Dutch portrait and religious painter, known for his depictions of the Seven Wonders of the World. He was born at Heemskerk, North Holland, halfway between Alkmaar and Haarlem. His father was a small farmer, Jacob Willemsz. van Veen (whose portrait he painted). According to his biography, written by Karel van Mander, he was apprenticed to Cornelis Willemsz in Haarlem. Recalled after a time to the paternal homestead and put to the plough or the milking of cows, young Heemskerk took the first opportunity that offered to run away, and demonstrated his wish to leave home for ever by walking in a single day the 80 km which separate his native hamlet from the town of Delft. There he studied under Jan Lucasz whom he soon deserted for his contemporary Jan van Scorel of Haarlem. Even today, many of Heemskerck's paintings are mistaken for work by van Scorel. He boarded at the home of the wealthy Pieter Jan Foppesz (the van Mander spelling is Pieter Ian Fopsen), curate of the Sint-Bavokerk. He knew him because he owned a lot of land in Heemskerck. This is the same man whom he painted in a now famous family portrait, considered the first of its kind in a long line of Dutch family paintings.