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.Laurence | romaan and st. barulo | st. ildefonso receiving the chasuble | Style life with lemon of orange and a rose | Appearance of Saint Peter to Saint Peter of Nolasco |
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John Evan Hodgson
painted The french naturalist in Algiers 1879
Michiel Coxie
Coxie also spelled Coxcie or Coxien, Latinised name Coxius (1499 - 3 March 1592) was a Flemish painter who studied under Bernard van Orley, who probably induced him to visit the Italian peninsula. Coxie was born in 1499 in Mechelen in what was then the Duchy of Brabant. At Rome in 1532 he painted the chapel of Cardinal Enckenvoirt in the church of Santa Maria dell'Anima; and Giorgio Vasari, who knew him, says with truth that he fairly acquired the manner of an Italian. But Coxie's principal occupation was designing for engravers; and the fable of Psyche in thirty-two sheets by Agostino Veneziano and the Master of the Die are favorable specimens of his skill. Returning to the Netherlands, Coxie greatly extended his practice in this branch of art. But his productions were till lately concealed under an interlaced monogram M.C.O.K.X.I.N. In 1539, Coxie returned to Mechelen, where he matriculated and painted the wings of an altarpiece for the chapel of the guild of St Luke. The centre of this altar-piece, by Jan Mabuse, represents Saint Luke the Evangelist, patron of painters, portraying the Virgin; the side pieces contain the Martyrdom of Saint Vitus and the Vision of St John the Evangelist in Patmos. At van Orley's death in 1541 Coxie succeeded to the office of court painter to the Regent Maria of Austria, for whom he decorated the castle of Binche. He was subsequently patronized by Charles V, Holy Roman Emperor, who often coupled his works with those of Titian; by Philip II of Spain, who paid him royally for a copy of Jan van Eyck's Agnus Dei, and also commissioned two copies of Van der Weyden's Descent from the Cross from Coxie; and by Fernando Álvarez de Toledo, Duke of Alva, who once protected him from the insults of Spanish soldiery at Mechelen. At that time, Coxie also designed tapestries for the Brussels manufacturers.
Eloi Firmin Feron
painted Eloi Firmin Feron in 1834