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 :. | San Mageleina | The Pie Eaters | 3 boys | Rest on the Flight into Egypt | St. Justa and St. Rufina |
Related Artists:
BERLINGHIERI, Bonaventura
Italian Gothic Era Painter, active 1215-1242 Italian painter. Originally from Lucca, he was the most gifted of a family of Lombardian painters. His Scenes from the Life of St. Francis on the predella of the altar of San Francesco (Pescia) is the earliest known visual representation of St. Francis' life. Also noted are Scenes from the Life of St. Francis (Santa Croce, Florence) and St. Francis Receiving the Stigmata (Accademia, Florence).
Jan Veth
(18 May 1864 Dordrecht - 1 July 1925 Amsterdam), was a Dutch painter, poet, art critic and university lecturer. Jan Veth was the son of Gerradus Huibert Veth, a Dordrecht iron merchant and liberal politician, and Anna Cornelia Giltay. On his mother's side he descended from the Dordrecht painter family of Van Strij (his mother was a granddaughter of Jacob van Strij). He married Anna Dorothea Dirks on 10 August 1888, from which marriage came five children. Veth received his art education at the Rijksakademie voor Beeldende Kunsten in Amsterdam. With several of his fellow students he founded the St. Luke group. From 1885 he worked with the painter Anton Mauve in Laren. After his marriage in 1888 he settled in Bussum. Jan Veth is especially noted as a portrait painter. Amongst his sitters were Max Liebermann, Lambertus Zijl, Frank van der Goes, Antoon Derkinderen and other contemporaries including various fellow painters. In addition he was a well-known poet, belonging to the Eighties movement and publishing work in the De Nieuwe Gids. He designed the cover for "De Kleine Johannes", a book written by his friend, Frederik van Eeden, contributing to the development of book-art in Holland. As Professor Extraordinary in History of Art and Aesthetics, he was associated with the Rijksakademie voor Beeldende Kunsten in Amsterdam.
Jerome Myers
(March 20, 1867 - June 19, 1940) was a U.S. artist and writer. Born in Petersburg, Virginia and raised in Philadelphia, Trenton and Baltimore, he spent his adult life in New York City. Jerome worked briefly as an actor and scene painter, then studied art at Cooper Union and the Art Students League where his main teacher was George de Forest Brush. In 1896 and 1914, he was in Paris, but his main classroom was the streets of New York's lower East Side. His strong interest and feelings for the new immigrants and their life resulted in hundreds of drawings, as well as paintings and etchings capturing the whole panorama of their lives as found outside of the crowded tenements which were their first homes in America.