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. Although he had no immediate followers, he was greatly admired by such later painters as Goya and Manet  Related Paintings of Diego Velazquez :. | Portrait de Philippe IV en Cuirasse (df02) | Self-portrait | Prince Baltasar Carlos with a Dwarf (df01) | Prince Baltasar Carlos with the Count-Duke of Olivares at the Royal Mewa (df01) | Las Meninas |
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Abraham Brueghel
(1631-1690) was a Flemish painter from the famous family of artists. He was the son of Jan Brueghel the Younger, the grandson of Jan Brueghel the Elder and the great-grandson of Pieter Brueghel the Elder.
Frederic Edwin Church
American Hudson River School Painter, 1826-1900 ..American painter. He was a leading representative of the second generation of the HUDSON RIVER SCHOOL, who made an important contribution to American landscape painting in the 1850s and 1860s. The son of a wealthy and prominent businessman, he studied briefly in Hartford with two local artists, Alexander Hamilton Emmons (1816-84) and Benjamin Hutchins Coe (1799-1883). Thanks to the influence of the Hartford patron DANIEL WADSWORTH, in 1844 he became the first pupil accepted by Thomas Cole. This was an unusual honour
Sir William Beechey
1753-1839 British English painter. He was trained as a lawyer before entering the Royal Academy Schools, London, in 1772. He is thought to have studied under Johan Zoffany, and his earliest surviving portraits are small-scale full-lengths and conversation pieces in Zoffanys manner (e.g. The Custance Conversation Piece, c. 1786; priv. col.). Beechey first exhibited at the Royal Academy in 1776. In 1782 he moved to Norwich, where he gained several commissions, but he was back in London by 1787. In 1789 he exhibited a portrait of John Douglas, Bishop of Carlisle (London, Lambeth Pal.) that is remarkable for its facility of handling. Beechey would occasionally paint similarly inspired works, but his career is marked by a succession of unflamboyant but competent portraits in the tradition of Joshua Reynolds.