1598-1664 Spanish Francisco de Zurbaran Galleries Spanish baroque painter, active mainly at Llerena, Madrid, and Seville. He worked mostly for ecclesiastical patrons. His early paintings, including Crucifixion (1627; Art Inst., Chicago), St. Michael (Metropolitan Mus.), and St. Francis (City Art Museum, St. Louis), often suggest the austere simplicity of wooden sculpture. The figures, placed close to the picture surface, are strongly modeled in dramatic light against dark backgrounds, indicating the influence of Caravaggio. They were clearly painted as altarpieces or devotional objects. In the 1630s the realistic style seen in his famous Apotheosis of St. Thomas Aquinas (1631; Seville) yields to a more mystical expression in works such as the Adoration of the Shepherds (1638; Grenoble); in this decade he was influenced by Ribera figural types and rapid brushwork. While in Seville, Zurbur??n was clearly influenced by Velazquez. After c.1640 the simple power of Zurbaran work lessened as Murillo influence on his painting increased (e.g., Virgin and Child with St. John, Fine Arts Gall., San Diego, Calif.). There are works by Zurbar??n in the Hispanic Society of America, New York City; the National Gallery, Washington, D.C.; and the Philadelphia Museum of Art..  Related Paintings of Francisco de Zurbaran :. | St Francis in Meditation | Hochaltar des Kartauserkloster Nuestra Senora de la Defension in Jerez de la Frontera, Szene: Hl. Lorenzo | st. jacobo de la marca | birth of st. pedro nolasco | still life |
Related Artists:
Caroline Watson
British 1760-1814,Daughter of James Watson. In 1780 she signed a stipple print of Isaac Watts and was soon employed by John Boydell (e.g. Prince William of Gloucester, 1784, after Joshua Reynolds). In 1785 she became Engraver to Queen Charlotte (1744-1818), a keen print collector. She was particularly fitted to working after miniatures, such was the delicacy of her engraving, and some of her best prints are portraits and small subjects after Samuel Shelley (c. 1750-1808). She did private commissions of this kind, notably for the Bute family, and also engraved large plates, some for the Boydell Shakespeare Gallery, including the Death of Cardinal Beaufort (1792) after Reynolds, allegedly at his request. She was employed by William Hayley (1745-1820) on his Life of George Romney Esq (London, 1809), and the correspondence involved shows her as a reliable and respected professional.
Edwin Roffe
British,fl.Mid-nineteenth century
Jan Fyt
1611-1661 Flemish Jan Fyt Gallery Flemish painter, draughtsman and etcher. He was apprenticed in Antwerp in 1621-2 to Hans van den Berch [Berghe] (not to be confused with Jan van den Bergh of Alkmaar) and probably completed his training with Frans Snyders. In 1629-30 Fyt became a master in the Antwerp Guild of St Luke, but he continued to work for Snyders until 1631. In 1633 and 1634 he was in Paris. According to his biographers, he then went to Italy; an Italian journey is confirmed by the fact that in 1650 he joined the Antwerp Guild of Romanists (exclusive to those who had visited Rome), of which he became the dean in 1652. He apparently worked in Rome, where he joined the Schildersbent and was given the nickname Goudvink (Dut.: goldfinch). In Venice, according to Orlandi, Fyt worked for the Sagredo and Contarini families. He is also thought to have visited Naples, Florence and Genoa, and Orlandi stated that he also went to Spain and London. By 5 September 1641 Fyt was back in Antwerp, where, apart from a brief trip to the northern Netherlands in 1642, he apparently remained for the rest of his career. However, Jan-Erasmus Quellinus stated that he again travelled to Italy in the 1650s, a claim supported to some extent by the mention in 1671 of a Self-portrait (untraced) supposedly painted some 20 years earlier in Venice (see 1977 exh. cat.).