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 :. | Hl. Casilda von Toledo | The Death of St Bonaventura (mk08) | Christ on the Cross | peter the apostle appears to | christ dead on the cross |
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William Frederick Yeames,RA
1835-1918 English painter. The son of a British consul in Russia, Yeames was sent to school in Dresden after the death of his father in 1842. He also studied painting there. The collapse of the Yeames family fortune resulted in a move to London in 1848, where Yeames learnt anatomy and composition from George Scharf (1788-1860). He later took lessons from F. A. Westmacott. In 1852 he continued his artistic education in Florence under Enrico Pollastrini and Raphael Buonajuto, from whom he learnt the methods of the Old Masters. He drew from frescoes by Ghirlandaio, Gozzoli and Andrea del Sarto and painted in the Life School at the Grand Ducal Academy. He then went to Rome and made landscape studies and copied Old Masters, including Raphael's frescoes in the Vatican. His extensive study of Italian art gave him a precision and facility that assisted his artistic success upon his return to London in 1859. There he set up a studio in Park Place and became involved with the ST JOHN'S WOOD CLIQUE. He exhibited at the Royal Academy and the British Institution from 1859 and became an ARA in 1866.
Jean Paul Selinger
Jean Paul Selinger (1850-1909) and Emily Selinger (1848-1927), husband and wife, had summer art studios at the Glen House and the Crawford House. Born in Boston, Jean Paul studied at the Lowell Institute and in 1875 he went to Germany to study at the Munich Academy with Wilhelm Leibl. Upon returning, he opened an art studio in Providence, Rhode Island, and married Emily McGary, also an artist. The Selingers had a studio in Boston and a summer art studio at the Glen House, Pinkham Notch in the 1880s. In 1894 the Selingers moved into the former studio of Frank H. Shapleigh at the Crawford House. In August 1894 the Selingers accepted an invitation to serve on the board of judges for a North Conway Coaching Parade Committee. Jean Paul painted numerous portraits, still-life paintings, and White Mountain landscapes. Emily painted both watercolors and oils of local flora. Jean Paul was a member of the Boston Art Club. He exhibited at the National Academy of Design in 1880 and the Paint and Clay Club in Boston in 1889.
Sanford Gifford
(July 10, 1823 C August 29, 1880) was an American landscape painter and one of the leading members of the Hudson River School. Gifford's landscapes are known for their emphasis on light and soft atmospheric effects, and he is regarded as a practitioner of Luminism, an offshoot style of the Hudson River School.