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 :. | A White Horse (df01) | Prince Felipe Prospero (df01) | Velazquez et Ia Famille royale (Les Menines) (df02) | Portrait equestre du comte-duc d'Olivares (df02) | Menippos |
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James Seymour
British Painter , ca.1702-1752 English painter and draughtsman. The son of James Seymour (d 1739), a dealer in pictures and precious metals, Seymour was among the first English painters to specialize exclusively in sporting subject-matter. Though he possibly received some informal drawing instruction from the topographer Francis Place, Seymour was essentially a self-taught artist whose education was based on the study of pictures that passed through his father's hands; one of his earliest known works is a sketch of a horse's head after van Dyck (sold London, Christie's, 16 June 1970). His early 'genius to drawing of horses' was, according to George Vertue, compromised by 'modish extravagances' through living 'gay high and loosely' and because he 'never studied enough to paint or colour well'. Elsewhere, however, it was recorded that by 1739 he was 'reckoned the finest draughtsman in his way [of horses, hounds etc.] in the whole world' (Universal Spectator, 1739), and he was certainly preferred to his chief rival, John Wootton, by many sporting patrons. Among his employers was William Jolliffe MP, of Ammerdown. Though many of his paintings are either derivative of Wootton or simply inept, or both, others are characterized by a self-conscious stylistic naivety in which meticulous attention to detail and eerily static compositions combine to create curiously memorable images of some apparent sophistication.
Hendrick van Anthonissen
(29 May 1605, Amsterdam - 12 November 1656, Amsterdam) was a Dutch marine painter. Van Anthonissen was the son of Aert Anthonisz (a.k.a. Aart van Antum) and painted in the style of his brother-in-law and teacher Jan Porcellis and of Jan van Goyen. He is the author of sea paintings in the Hermitage, St. Petersburg and the Prague Gallery, which through their signatures have been ascribed to a mythical Hendrik van Antem. In the 1630's he lived in The Hague, Leiden, and Leiderdorp, but from 1642 he was back in Amsterdam. He is known for beach scenes and seascapes in the manner of Jan Porcellis, sometimes in grisaille. He was the father of the marine painter Arnoldus van Anthonissen.
Samuel J.Reader
1853-1914