Spanish Baroque Era Painter, 1642-1693 Spanish painter and draughtsman. Together with the court painters Francisco Rizi, Juan Carre?o de Miranda and Francisco de Herrera, he was one of the foremost exponents of a style of Spanish painting that developed between c. 1660 and 1700 and was characterized by theatrical compositions and rich colours. The sources of this late Baroque style, which was distinct from that of the previous generation of Spanish Baroque artists, most of whom painted sober, realistic depictions of religious and secular life, lie in the influence exerted by Venetian Renaissance painting and by Italian and Flemish art of the period,   Related Paintings of COELLO, Claudio :. | La Sagrada Forma | The Triumph of St.Augustine | The Triumph of St Augustine df | St Dominic of Guzman dfgh | Holy Family dfgd |
Related Artists:
GAREMIJN, Jan Antoon
Flemish Baroque Era Painter, 1599-1641
Casilear John William
American Hudson River School Painter, 1811-1893 was an American landscape artist belonging to the Hudson River School. Casilear was born in New York City. His first professional training was under prominent New York engraver Peter Maverick in the 1820s, then with Asher Durand, himself an engraver at the time. Casilear and Durand became friends, and both worked as engravers in New York through the 1830s. By the middle 1830s Durand had become interested in landscape painting through his friendship with Thomas Cole. Durand, in turn, drew Casilear's attention to painting. By 1840 Casilear's interest in art was sufficiently strong to accompany Durand, John Frederick Kensett, and artist Thomas P. Rossiter on a European trip during which they sketched scenes, visited art museums, and fostered their interest in painting. Casilear gradually developed his talent in landscape art, painting in the style that was later to become known as the Hudson River School. By the middle 1850s he had entirely ceased his engraving career in favor of painting full-time. He was elected a full member of the National Academy of Design in 1851, having been an associate member since 1831
Raimundo de Madrazo y Garreta
1841-1920 Spanish Son of Federico de Madrazo y Kentz. Because of his ability and training with his father, Federico, in the Real Academia de S Fernando in Madrid and with Leon Cogniet in Paris, he seemed destined to continue the family tradition of academic painting. However, due to the influence of the Belgian Alfred Stevens, of his brother-in-law, Mariano Jose Bernardo Fortuny y Marsal, and the Parisian environment, he exchanged dry historical painting for the preciousness of the tableautin, the small, intimate genre painting. He lived in Paris and New York and became so remote from Spanish artistic life that he and Fortuny y Marsal were the only Spanish artists not to participate in any national exhibition, and because of this the Spanish state never directly acquired their works. In 1882, with Giuseppe De Nittis, Stevens and the gallery owner Georges Petit, he co-founded the Exposition Internationale de Peinture, designed to promote foreign artists in Paris. Madrazo Garreta most characteristic works are the female portrait and the witty and elegant genre painting, with soft, delicate tones and suggestive poses. The influence of the Rococo and of Japanese art is reflected in his painting, which expresses an exquisite aristocratic or bourgeois ideal, the illusion of a refined, sensual and superficial life. Consequently, his works are also described as representing the Parisian seraglio. American collectors paid high prices for his paintings, for example Alexander Turney Stewart bought Lady with a Parrot; Carnival Festival (1878) was purchased by L. Wolfe; and Girls at the Window (1875) was bought by J. W. Vanderbilt, the last two now being in the Metropolitan Museum of Art, New York. His portraits were better received in Spain although because of collectors such as Ramen de Errazu (d 1909), the Museo del Prado has a good number of his paintings (e.g. After the Bath).