Spanish Baroque Era Painter, 1599-1660 Spanish painter. He was one of the most important European artists of the 17th century, spending his career from 1623 in the service of Philip IV of Spain. His early canvases comprised bodegones and religious paintings, but as a court artist he was largely occupied in executing portraits, while also producing some historical, mythological and further religious works. His painting was deeply affected by the work of Rubens and by Venetian artists, especially Titian, as well as by the experience of two trips (1629-31 and 1649-51) to Italy. Under these joint influences he developed a uniquely personal style characterized by very loose, expressive brushwork. Although he had no immediate followers, he was greatly admired by such later painters as Goya and Manet  Related Paintings of Diego Velazquez :. | Juan de Pareja (detail) (df01) | Infanta Maria Theresa, daughter of Philip IV of Spain, wife of Louis XIV of France | Infanta Maria Teresa (df01) | Portrait du bouffon Pablo de Valladolid (df02) | Pablo de Valladolid |
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James Latham
James Latham (c. 1696 - 26 January 1747) was an Irish portrait painter. James Latham was born in Thurles, County Tipperary, Ireland and possibly related to the family of Lathams of Meldrum and Ballysheehan. After some practice of his art, Latham studied for an academic year in Antwerp (1724 - 25) where he became a Master of the Guild of St Luke. He returned to Dublin by 1725, and may have visited England in the 1740s, as the influence of Joseph Highmore, as well as Charles Jervas and William Hogarth, is evident in his work of this period. Anthony Pasquin memorably dubbed Latham "Ireland's Van Dyck". Latham died in Dublin on 26 January 1747. Several of James Latham's portraits are in the National Gallery of Ireland collection in Dublin; one is of the famous MP Charles Tottenham (1694-1758) of New Ross, Co. Wexford, "Tottenham in his Boots" (Cat. No.411) and a second is a portrait of Bishop Robert Clayton (1697-1758) and his wife Katherine.
Orsi, Lelio
Italian, approx. 1508-87 .Italian painter and draughtsman. A prominent Emilian artist of the mid-16th century, he was influenced by Correggio as well as by the late Mannerist style of Giulio Romano. His large-scale works seem to have been mainly secular decorations, notably illusionistic fa?ades, of which only fragments are extant. Their energy and expressiveness are apparent, however, in the surviving paintings of smaller dimensions. Orsi's sole documented architectural work is the Collegiata di S Stefano, Novellara
HOLBEIN, Hans the Younger
German painter (b. 1497, Augsburg, d. 1543, London). Hans Holbein the Younger, born in Augsburg, was the son of a painter, Hans Holbein the Elder, and received his first artistic training from his father. Hans the Younger may have had early contacts with the Augsburg painter Hans Burgkmair the Elder. In 1515 Hans the Younger and his older brother, Ambrosius, went to Basel, where they were apprenticed to the Swiss painter Hans Herbster. Hans the Younger worked in Lucerne in 1517 and visited northern Italy in 1518-1519. On Sept. 25, 1519, Holbein was enrolled in the painters' guild of Basel, and the following year he set up his own workshop, became a citizen of Basel, and married the widow Elsbeth Schmid, who bore him four children. He painted altarpieces, portraits, and murals and made designs for woodcuts, stained glass, and jewelry. Among his patrons was Erasmus of Rotterdam, who had settled in Basel in 1521. In 1524 Holbein visited France. Holbein gave up his workshop in Basel in 1526 and went to England, armed with a letter of introduction from Erasmus to Sir Thomas More, who received him warmly. Holbein quickly achieved fame and financial success. In 1528 he returned to Basel, where he bought property and received commissions from the city council, Basel publishers, Erasmus, and others. However, with iconoclastic riots instigated by fanatic Protestants, Basel hardly offered the professional security that Holbein desired. In 1532 Holbein returned to England and settled permanently in London, although he left his family in Basel, retained his Basel citizenship, and visited Basel in 1538. He was patronized especially by country gentlemen from Norfolk, German merchants from the Steel Yard in London, and King Henry VIII and his court. Holbein died in London between Oct. 7 and Nov. 29, 1543. With few exceptions, Holbein's work falls naturally into the four periods corresponding to his alternate residences in Basel and London. His earliest extant work is a tabletop with trompe l'oeil motifs (1515) painted for the Swiss standard-bearer Hans Baer. Other notable works of the first Basel period are a diptych of Burgomaster Jakob Meyer zum Hasen and his wife, Dorothea Kannengiesser (1516); a portrait of Bonifacius Amerbach (1519); an unsparingly realistic Dead Christ (1521); a Madonna and Child Enthroned with Two Saints (1522); several portraits of Erasmus, of which the one in Paris (1523 or shortly after), with its accurate observation of the scholar's concentrated attitude and frail person and its beautifully balanced composition, is particularly outstanding; and woodcuts, among which the series of the Dance of Death (ca. 1521-1525, though not published until 1538) represents one of the high points of the artist's graphic oeuvre. Probably about 1520 Holbein painted an altarpiece, the Last Supper, now somewhat cut down, which is based on Leonardo da Vinci's famous painting, and four panels with eight scenes of the Passion of Christ (possibly the shutters of the Last Supper altarpiece), which contain further reminiscences of Italian painting, particularly Andrea Mantegna, the Lombard school, and Raphael, but with lighting effects that are characteristically northern. His two portraits of Magdalena Offenburg, as Laïs of Corinth and Venus with Cupid (1526),