Spanish Baroque Era Painter, 1598-1664 Spanish painter. He was apprenticed in 1614 to a painter in Sevilla (Seville), where he lived until 1658 when he moved to Madrid. He had a few royal commissions but remained throughout his life a provincial painter of religious pictures. His apostles, saints, and monks are painted with almost sculptural modeling, and his emphasis on the minutiae of their dress lends verisimilitude to their miracles, visions, and ecstasies. This distinctive combination of naturalism with religious sensibility conforms to the guidelines for Counter-Reformation artists outlined by the Council of Trent. He had numerous commissions from monasteries and churches throughout southern Spain, and many of his works were sent to Lima, Peru.  Related Paintings of ZURBARAN Francisco de :. | St. Apolonia | St Hugo of Grenoble in the Carthusian Refectory | St. Francis | The Vision of St Peter of Nolasco | The Immaculate Conception |
Related Artists:
Antonio Maria Vassallo
Italian Baroque Era Painter, ca.1620-1670
David Klocker Ehrenstrahl
German, 1629-1698,Swedish nobleman and portrait painter who in 1652, at twenty-four years of age, at the request of Carl Gustaf Wrangel, moved to Skokloster Castle, from his art studies in the Netherlands. Between 1654 and 1661 he studied in Italy and visited the courts of both France and England. On his return he became entitled Court painter. He was raised to the nobility in 1674 and became court indendant in 1690. Mikael Dahl and David von Krafft as well as his daughter Anna Maria (born 1666) can be found among his pupils. The allegoric great hall ceiling fresco, named The Great Deeds of The Swedish Kings, in the Swedish House of Knights, made between 1670 and 1675, is considered to be his greatest work. A second version was made in Drottningholm Palace, the home of the Swedish Royal Family, in 1695. The Drottningholm fresco, also became the motive of the 1000th and ever largest postage stamp by Czeslaw Slania, the Polish
Jan van Beers
(22 February 1821 - 14 November 1888) was Flemish poet born in Antwerp. He is usually referred to as "van Beers the elder" to distinguish him from his son, Jan van Beers, the painter. Van Beers was essentially a Netherlander, though politically a Belgian, expressing his thoughts in the same language as any North Netherland writer. In fact, the poems of Jan van Beers are perhaps more popular in the Netherlands than in Belgium, and of many of them there exist more editions printed in the Netherlands than in his political fatherland. Van Beers started life as a teacher of Dutch language and literature, first at Mechelen, then at Lier, and in 1860 was appointed a professor of both at the Athenaeum (high school) in Antwerp, where he had also been a sub-librarian in the communal library. Van Beers as a teacher was early in the field, with Hendrik Conscience, Willems and others, when the Flemish movement began. He composed a Dutch grammar (1852), which, in enlarged editions, still holds the field, and a volume of selections from Dutch authors, both books being so much appreciated that the Belgian government made them text-books in the public schools. Van Beers's historical poems, the principal of which is, perhaps, Jakob Van Maerlant (Amsterdam, 1860), helped the Flemish revival in Belgium as powerfully as his school-books. He is best known, however, as the writer of ballads and songs. Jongelingsdroomen ("A Young Man's Dreams") first appeared at Antwerp and Amsterdam in 1853. These poems were followed by Levensbeelden ("Life Figures or Pictures," Amsterdam, 1858) and by Gevoel en Leven ("Feeling Living," Amsterdam, 1869). His Rijzende Blaren ("Rising Leaves") first made its appearance at Ghent and Rotterdam in 1883.