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. matthew | Saint Luke as a painter, before Christ on the Cross | st, dominic | the eternal father | the girl virgin asleep |
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Barthelemy Menn
(20 May 1815 - 10 October 1893) was a Swiss painter and draughtsman who introduced the principles of plein-air painting and the paysage intime into Swiss art. Menn was born in Geneva as the youngest son of four to Not (Rhaeto-Romance language form for Louis) Menn, a confectioner from Scuol in the canton of Grisons, and Charlotte-Madeleine-Marguerite Bodmer, the daughter of a wealthy farmer from Coinsins in the Canton de Vaud. Already at the age of twelve, Menn took drawing lessons from the little known Jean Duboi (1789-1849), and later, he entered the drawing school of the Geneva Arts Society. The repeated claim that he was also a pupil of the famous enameller Abraham Constantin (1785-1855) appears to be erroneous. In 1831, Menn was second in the annual drawing competition of the Geneva Art Society. The following year, he entered the studio of the Swiss history painter Jean-Leonard Lugardon (1801-1884), who was a pupil of Baron Gros(1771-1835) and acquainted with Jean-Auguste-Dominique Ingres (1780-1867). There, Menn was educated in figure drawing and composition before heading for Paris, where, in fall 1833, he entered the studio of Ingres. He was, therefore, no beginner when meeting the master, but needed some polishing and refinement in his art. In a letter to his friend Jules Hebert, Menn reported on the new situation: eEverybody, even the eldest in the studio tremble before Mr. Ingres. One fears him a lot in such a way that his corrections have a great impact. He is of an extreme sensibility,e while the education in Ingrese studio has been described by Theophile Silvestre, as follows: 'The students spend half of their time studying nature and half studying the masters among which they are especially attached to Phidias, the bas-reliefs of the Parthenon, classical sculpture in general.e This explains why among Menn's early works there are many copies after the Parthenon frieze that was accessible in Paris in a set of plaster casts at the Ecole des Beaux-Arts since 1816. (Fig. 2). Menn also copied several works by Raffael, Titian (Fig. 3), Veronese and Rubens in the Louvre, and works by Ingres. When the latter decided to give up his studio to take the post as director of the French Academy in the Villa Medici in Rome, Menn returned to his grandparents in Coinsins before following his master in fall 1834. His journey led him first via Milan to Venice, where he met briefly his compatriot Louis-Leopold Robert (1798-1835), and where he would copy works by Titian and Tintoretto. He then travelled via Padua and Bologna to Florence, where he met old classmates from Ingrese studio, and arrived finally in Rome in spring 1835. There, Menn copied works by Raphael and Michelangelo, but he also started to produce extraordinary fresh small landscape paintings in the open air. In summer 1836, he visited the Campagna, Capri and Naples, where too he drew and painted landscapes directly from nature, and copied classical antiquities from Pompeii as well as Giovanni Bellini's Transfiguration in the Museo Borbonico. When back in Rome, he produced history - and genre paintings, of which in 1837, he sent 'Solomon presented to Wisdom by his Parents' (Salomon presente e la sagesse par son pere et sa mere; Fig.N) to the annual Salon in Geneva. Menn returned via Florence, Siena and Viterbo to Paris in late 1838, where he exhibited at the Salon from 1839 to 1843, and where he became the drawing master of Maurice Dudevant, the son of George Sand. In her circle, he became acquainted with Eugene Delacroix (1798-1863) who wanted to employ him as an assistant while working on the decoration of the cupola of the library in the Palais du Luxembourg. At the same time, Menn got to know the painters of the Barbizon School, and especially Charles Daubigny (1817-1878). Most importantly, however, Menn became friends with Camille Corot (1796-1875), who, from 1842 onwards, visited Switzerland frequently. It was also in Paris that he became acquainted with members of the Genevan Bovy family who followed the utopian socialist ideas of Charles Fourier.
ROMANELLI, Giovanni Francesco
Italian painter, Roman school (b. 1610, Viterbo, d.1662, Viterbo). Italian painter and draughtsman. He was the pupil first of Domenichino, then of Pietro da Cortona; his work also shows the influence of Bernini (in some of whose projects he became involved) and of Poussin. His calm and graceful synthesis of these extremes of austere Baroque classicism and High Baroque ebullience was prophetic of the effects of the Roman Late Baroque and of the generalized style of public painting that spread throughout Europe in the late 17th century and the early 18th.
Floris Arntzenius
(9 June 1864 - 16 February 1925) was a Dutch painter, water-colourist, illustrator and printmaker. He is considered a representative of the younger generation of the Hague School. Arntzenius was born in Surabaya on the island of Java where his father served in the Royal Dutch East Indies Army. In 1875, at the age of 11, he was sent to the Netherlands to Amsterdam to live with his aunt and uncle in order to complete his education. In 1882 he became a student of Frederik Nachtweh, under Nachtweh's supervision he gained admission to the Rijksacademie van Beeldende Kunsten. During his time at the Rijksacademie, from 1883 to 1888, his teachers included August Allebe and Barend Wijnveld, and amongst his fellow students were Isaac Israëls, George Breitner, Willem Witsen and Jan Veth. After his studies in Amsterdam he spent another two years at the Koninklijke Academie voor Schone Kunsten in Antwerp, studying under Charles Verlat. Back in Amsterdam, Arntzenuis became a member of the artist's societies Arte et Amicitiae (1890) and St. Lucas (1891), and he had a studio at the Sarphatistraat. In 1892 his mother became widowed and moved to The Hague and Arntzenuis also moved there to keep her company. Around the same time his former fellow students Isaac Israëls and George Breitner left The Hague for Amsterdam to be a part of the capital's more vibrant artistic climate. At The Hague the established painters of the first generation of the Hague School dominated artistic life. Spuistraat, 1919, Haags Historisch MuseumArntzenius became a member of the artist's society Pulchri Studio in The Hague in 1892. From 1893 to 1895 he shared Bernard Blommers' former studio with Cornelis Antonie van Waning. He also contributed illustrations to Elsevier Geïllustreerd Maandschrift from 1892 to 1894. In 1896 he was admitted to the Hollandsche Teeken Maatschappij, a society that promoted the medium of watercolours among its members. He got married in 1900, to Lide Doorman, a talented painter of floral still lives, who lived in the house opposite of Arntzenius' mother, together they had four daughters, who he frequently painted.