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 :. | La Vierge imposant la chasuble a saint IIdefonse df02) | Democrite (df02) | The Drunkards | Mars | St Ildefonso Receiving the Chasuble from the Virgin(detail) (df01) |
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Ludovico Cigoli
Italian Baroque Era Painter , 1559-1613 was an Italian painter and architect of the late Mannerist and early Baroque period, trained and active in his early career in Florence, and spending the last nine years of his life in Rome. Lodovico Cardi was born at Villa Castelvecchio di Cigoli, in Tuscany, whence the name by which he is commonly known. Initially, Cigoli trained in Florence under the fervid mannerist Alessandro Allori. Later, influenced by the most prominent of the Contra-Maniera painters, Santi di Tito, as well as by Barocci, Cigoli shed the shackles of mannerism and infused his later paintings with an expressionism often lacking from 16th century Florentine painting. For example, for the Roman patron, Massimo Massimi, he painted an Ecce Homo (now in Palazzo Pitti). Supposedly unbenknownst to any of the painters, two other prominent contemporary painters, Passignano and Caravaggio, had been requested canvases on the same theme. It is unclear if they are completely independent. Cigoli's painting seems to have been made with knowledge of Caravaggio's canvas; however, while Cigoli's work lacks the power of Caravaggio's naturalism, the background shade and sparse foreground shows how much he was moving away from crowded Florentine historical paintings. This work was afterwards taken by Bonaparte to the Louvre, and was restored to Florence in 1815. One of his early paintings was of Cain slaying Abel.
Beard, William Holbrook
American Painter, 1824-1900
FURINI, Francesco
Italian Baroque Era Painter, 1603-1646 Italian painter. He was one of the leading Florentine painters of the first half of the 17th century, famous for the ambiguous sensuality and sfumato effects of his many paintings of female nudes. He first studied with his father, Filippo Furini, nicknamed Pippo Sciamerone and described by Baldinucci as a portrait painter, and he completed his apprenticeship in the studios of Domenico Passignano and of Giovanni Bilivert. Inspired by an admiration for Classical sculpture, which he studied in the Medici collection in Florence, and for Raphael, he travelled to Rome, which he reached as early as 1619 (Gantelli, see 1972 exh. cat.). Here he came into contact with Bartolomeo Manfredi and with Giovanni da San Giovanni. In 1623 he assisted the latter on the frescoes of the Chariot of the Night in the Palazzo Bentivoglio (now Pallavicini-Rospigliosi), commissioned by Cardinal Guido Bentivoglio, and also perhaps on the lower paintings (1623-4) in the apse of the church of SS Quattro Coronati, Rome.