b. 1616, Cordoba, d. 1668, Cordoba Spanish painter and draughtsman. He studied first with his father, Agust?n del Castillo (d July 1631), a painter also known for his drawings, and in November 1631 began a three-year apprenticeship with Ignacio de Aedo Calderen, a painter of religious figures ( pintor de imaginera). From 1635 to 1638 Castillo was also known as painter and pintor de imaginera, and by December 1638  Related Paintings of CASTILLO, Antonio del :. | Perseus and Andromeda | My Dead mother | Helena de Kay | The adoration of the Konige | Elsie in a Blue Chair |
Related Artists:
John Opie
English Painter, 1761-1807,English painter. He was born in a tin-mining district, where his father was a mine carpenter. He had a natural talent for drawing and was taken up by an itinerant doctor, John Wolcot (the poet Peter Pindar, 1738-1819), who was an amateur artist and had a number of well-connected friends. Wolcot taught Opie the rudiments of drawing and painting, providing engravings for him to copy and gaining him access to country-house collections. Opie's early portraits, such as Dolly Pentreath (1777; St Michael's Mount, Cornwall, Lord St Levan priv. col.), are the work of a competent provincial painter and owe much to his study of engravings after portraits by Rembrandt. His attempts at chiaroscuro and impasto in Rembrandt's manner gave his pictures a maturity that clearly startled contemporary audiences expecting to see works by an untutored artist. Thus in 1780, when a picture by him was exhibited in London at the Society of Artists with the description 'a Boy's Head, an Instance of Genius, not having ever seen a picture', Opie was hailed as 'the Cornish Wonder'. When he himself arrived in London, where he was promoted by Wolcot and his paintings were exhibited at the Royal Academy in 1781 and 1782, he was seen as a phenomenon, impressing even Joshua Reynolds, who is reputed to have remarked that Opie was 'like Caravaggio and Velasquez in one'.
VROOM, Hendrick Cornelisz.
Dutch Baroque Era Painter, ca.1563-1640. He was one of the founders of Dutch marine painting. Painter and draughtsman. By his own account, he received his early training in Delft, home of his mother's family. Van Mander reports that Hendrick's stepfather, like his father a ceramic artist, forced him to work as a decorator of ceramic vessels, which caused the young artist to leave home and embark on extensive travels in Spain and Italy. After working for ecclesiastical patrons in Florence and Rome, he was employed for at least two years (c. 1585-7) by Cardinal Ferdinando de' Medici, who in October 1587 succeeded Francesco I as Grand Duke of Tuscany. Ferdinando's keen interest in ships and the navy seems to have been a determining factor in Vroom's choice of subject-matter. According to Lanzi, he was known in Rome as 'Lo Spagnolo' (since he had arrived there from Spain). Among his earliest works may be a group of marine paintings attributed to him (Rome, Villa Colonna). His friendship in Rome with Paul Bril, mentioned by van Mander, had no effect on Hendrick's painting style, but Bril's influence is discernible in a group of landscape drawings
Juan Luna
Juan Luna y Novicio (October 23, 1857 - December 7, 1899) was an Ilocano Filipino painter, sculptor and a political activist of the Philippine Revolution during the late 19th century. He became one of the first recognized Philippine artists. His winning the gold medal in the 1884 Madrid Exposition of Fine Arts, along with the silver win of fellow Filipino painter Felix Resurreccien Hidalgo, prompted a celebration which was a major highlight in the memoirs of members of the Propaganda Movement, with the fellow Ilustrados toasting to the two painters' good health and citing their win as evidence that Filipinos and Spaniards were equals. Regarded for work done in the manner of the Spanish and French academies of his time, Luna painted literary and historical scenes, some with an underscore of political commentary.