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 :. | The Holy Children with a Shell | Vendedores de fruta | Jesus bearing a cross | Small Shengduomasi distribute clothes to street children | Angels'Kitchen |
Related Artists:
Marcello Fogolino
(active 1510-1548) was an Italian painter of the Renaissance or Mannerist style. Originally from the Friuli, he worked early in his life in Vicenza. Returning to Friuli in 1520-21, he came to reflect the painterly style of Il Pordenone. He completed a painting of Saints Francis and John the Baptist with Prophet Daniel for the Duomo in Pordenone. He was banished from Venice, for complicity in a murder in 1527, and went to Trento. He worked painting frescoes in the Tridentine region, including Castel Buonconsiglio, Castello Malpaga, Villa Salvotti, and Palazzo Sardagna.
Louis Le Nain
1593-1648 French Louis Le Nain Gallery French family of painters. Antoine Le Nain (b Laon, c. 1600; bur Paris, 26 May 1648) and his brothers Louis Le Nain (b Laon, c. 1600; bur Paris, 24 May 1648) and Mathieu Le Nain (b Laon, c. 1607; bur Paris, 26 April 1677) lived together and shared a studio in Paris. Since the studio was headed by Antoine, he is assumed to have been older than Louis. The brothers reputation rests on a number of paintings signed Le Nain, on the basis of which other paintings (but no drawings) have also been attributed to them. None of the signed paintings bears a Christian name, and there is no secure way of attributing works to the individual brothers, although many attempts have been made. Eighteenth-century sale catalogues, fearful of anonymity, effectively chose from the three names at random. Since the writings of Witt (1910) and Jamot (1922) in particular, it has been habitual to ascribe small paintings on copper to Antoine, and austere, larger peasant scenes to Louis. This division of hands will be found in almost all the subsequent literature on the artists, although it must be stressed that there is no evidence at all to support it. Great efforts have also been made to identify works by Mathieu, since he survived his brothers by nearly 30 years and presumably continued to paint after their deaths in 1648. However, no such activity after 1648 is securely documented, and none of the surviving works bears a date later than 1647; and the arguments for a separate Mathieu oeuvre, though cogent, should not be regarded as conclusive. The outstanding feature of the work of the Le Nain brothers, and the basis of their celebrity since the mid-19th century, is the artists treatment of the poor.
Antoine-Francois Callet
(1741-1823, Paris), generally known as Antoine Callet, was a French painter of portraits and allegorical works, who acted as official portraitist to Louis XVI. He won the grand prix de Rome in 1764 with Cleobis et Biton conduisent le char de leur mere au temple de Junon (Kleobis and Biton dragging their mother's cart to the temple of Juno). He was accepted by the Academie des beaux arts in 1779, with his entry piece being a portrait of the comte d'Artois, and received with his allegory Le printemps (Spring) in 1781. He exhibited at the Salon from 1783 onwards. He painted the centre of the ceiling of the grande galerie of the palais du Luxembourg, with a composition entitled L'Aurore (Aurora). Under the French Consulate and the First French Empire he painted several more allegories, including an Allegorie du dix-huit brumaire ou la France sauvee (Allegory of 18 Brumaire, or France saved - 1801, château de Versailles) and an Allegorie de la bataille d'Austerlitz (Allegory of the Battle of Austerlitz - 1806, château de Versailles).