1612-1667 Spanish Juan Bautista Martinez del Mazo Gallery Mazo??s works owe credit above all to Vel??zquez, whose style he was long compelled to emulate in court portraits. However, Mazo shows in his paintings a personality of his own. His portraits exhibit startling naturalism and marvelously executed. Mazo was specially skillful in painting small figures, a cardinal element in both his hunting scenes and the landscapes he painted as in his most celebrate work View of Saragossa. Mazo??s palette was rather like that of Vel??zquez, except for a penchant often shown for stressing blue or bluish tints. .The departure from his master style was in his way of shaping people and things by highlights which flash the pictorial image towards the surface of the painting, even from the background.. As a counterbalance, an explicit, even emphatic, perspective design marks out the spatial confines of the composition, making it appear squarish.. A further departure from Velazquez is his luxurious depiction of detail or incident, which he achieved with brilliant, depthless strokes, whether on the figure of a sitter, a curtain on a wall, a floor, the surface of a river, or plain grounds. .These stylistic traits reveal Mazo??s own personality as an artist. .For centuries, Mazo??s paintings were attributed to Vel??zquez, but modern art criticism, techniques and knowledge have been able to separate their works.  Related Paintings of Juan Bautista Martinez del Mazo :. | Empress Dona Margarita de Austria in Mourning Dress | Retrato de la infanta Margarita | Retrato de la infanta Margarita | The Artists Family | konstnarens familj |
Related Artists:
Henry Walton
British Painter , c 1746-1813 He studied in London under Johan Zoffany c. 1769, after which he completed his training at the Maiden Lane Academy. It was probably Zoffany who introduced Walton to the conversation piece, a genre in which he was to specialize. The Cricket Scene at Harrow School (1771; priv. col., see 1963 exh. cat., no. 1) reveals Walton's debt to Zoffany, but it also shows him to be an exceptional colourist and able to compose his figures with a sense of rare warmth and intimacy. By c. 1778, when he painted the Rev. Charles Tyrrell with his Family
Georges Seurat
French Pointillist Painter, 1859-1891 Georges-Pierre Seurat (2 December 1859 ?C 29 March 1891) was a French painter and draftsman. His large work Sunday Afternoon on the Island of La Grande Jatte, his most famous painting, altered the direction of modern art by initiating Neo-impressionism, and is one of the icons of 19th century painting Seurat took to heart the color theorists' notion of a scientific approach to painting. Seurat believed that a painter could use color to create harmony and emotion in art in the same way that a musician uses counterpoint and variation to create harmony in music. Seurat theorized that the scientific application of color was like any other natural law, and he was driven to prove this conjecture. He thought that the knowledge of perception and optical laws could be used to create a new language of art based on its own set of heuristics and he set out to show this language using lines, color intensity and color schema. Seurat called this language Chromoluminarism. His letter to Maurice Beaubourg in 1890 captures his feelings about the scientific approach to emotion and harmony. He says "Art is Harmony. Harmony is the analogy of the contrary and of similar elements of tone, of color and of line, considered according to their dominance and under the influence of light, in gay, calm or sad combinations". Seurat's theories can be summarized as follows: The emotion of gaiety can be achieved by the domination of luminous hues, by the predominance of warm colors, and by the use of lines directed upward. Calm is achieved through an equivalence/balance of the use of the light and the dark, by the balance of warm and cold colors, and by lines that are horizontal. Sadness is achieved by using dark and cold colors and by lines pointing downwards.
Modest Urgell
Modest Urgell (1839-1919) was a Spanish Catalan painter, illustrator, and playwright of comedies. He was educated at the Llotja School, in Barcelona, with Ramon Marte i Alsina and knew Gustave Courbet after a visit to Paris. Though he painted portraits, his prolific body of work is dominated by Neo-romantic landscapes, such as Fields of Loneliness (Campos de Soledad) (1894). He also acted and wrote such works for the theatre as Far from the Eyes, Close to the Heart (Lejos de los Ojos, Cerca del Corazon) (1898). In 1910 he taught at the School of Industrial and Fine Arts in Barcelona. Whilst he was there he worked with Josep Pasce and he taught the young Joan Miro.