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 :. | Prince Balthasar Carlos as a Hunter | Juan | Adoration of the Magi | The Immaculate Conception | Portrait d'un nain assis a terre (don Sebastian de Morra) (df02) |
Related Artists:
Juan Correa de Vivar
Spanish , c.1510-1566 was a Spanish painter,Correa's date of birth has been determined to be around 1510. Records show he grew up wealthy. When Juan was 17 or 18 years old he joined an artist workshop in Burgundy where he met with many other Spanish artists at the time, including Pedro de Cisneros whom he befriended. Juan's brother Eufrasia and Eufrasia's son Rodrigo also grew up to be artists. Rodrigo was apprenticed with his uncle, and continued some of his uncle's works after his death. In Mascaraque, Juan was a substantial landowner with a nice house where he did much of his painting. He took frequent trips but always stayed in the Toledo area. Juan was married and a religious man. It can be seen in his testament: a copy was found in the church files of Mascaraque. When he died, Juan split all his possessions between his nephew Rodrigo and the church of Mascaraque. Juan was a well-regarded painter during his life, but many records were lost. His works and life were brought to light again when the researcher and art historian Ceen Bermudez in 1800 published a dictionary of famous artists and included a brief article about his works and Italian influences. The full reconstruction of its biography has been primarily accomplished in the 20th century. Records show Juan died on April 16, 1566 in San Miguel. Juan's body was taken back to Mascaraque where he was buried, in the same plot where his parents were laid to rest. Many members of the artistic community came to the funeral service,
Giovanni Battista Piazzetta
(also called Giambattista Piazzetta or Giambattista Valentino Piazzetta) (February 13, 1682 or 1683 ?C April 28, 1754) was an Italian rococo painter of religious subjects and genre scenes. Piazzetta was born in Venice, the son of a sculptor Giacomo Piazzetta, from whom he had early training in wood carving. Starting in 1697 he studied with the painter Antonio Molinari. By Piazzetta's account, he studied under Giuseppe Maria Crespi while living in Bologna in 1703-05, although there is no record by Crespi of formal tutelage. Piazzetta did find inspiration in Crespi's art, in which the chiaroscuro of Caravaggio was transformed into an idiom of graceful charm. He was also greatly impressed by the altarpieces created by another Bolognese painter of a half-century earlier, Guercino. Around 1710, he returned to Venice. There he won recognition as a leading artist despite his limited output and his unassuming nature, but he ultimately was less patronized, both in Venice and especially abroad, than two other eminent stars in Venetian late-Baroque/Rococo, Ricci and Tiepolo. These two painters had a luminous palette and facile ease that allowed them to carpet meters of ceiling with frescoes, although with a superficiality and glamor that is absent from Piazzetta's darker and more intimate depictions. Nonetheless,Tiepolo, who collaborated with Piazzetta on some projects, was greatly influenced by the older artist; in turn, the luminosity and brilliance of Tiepolo's palette would influence Piazzetta in his later years. Piazzetta created an art of warm, rich color and a mysterious poetry. He often depicted peasantry, even if often in a grand fashion. He was highly original in the intensity of color he sometimes used in his shadows, and in the otherworldly quality he gave to the light which throws part of a composition into relief. The gestures and glances of his protagonists hint at unseen dramas, as in one of his best-known paintings, The Soothsayer(1740, now in Gallerie dell'Accademia, Venice). He brought similar elusiveness to works of a religious nature, such as the Sotto in su Glory of St. Dominic in the Church of Santi Giovanni e Paolo. Also notable are his many carefully rendered drawings of half-length figures or groups of heads. Usually in charcoal or black chalk with white heightening on gray paper, these are filled with the same spirit that animates his paintings, and were purchased by collectors as independent works. He also produced engravings. In 1750 Piazzetta became the first director of the newly founded Scuola di Nudo, and he devoted himself in the last few years of his life to teaching. He was elected a member of the Bolognese Accademia Clementina in 1727. Among the painters in his studio were Domenico Maggiotto, Francesco Dagiu (il Capella), John Henry Tischbien the Elder, Egidio Dall'Oglio, and Antonio Marinetti.[1] Among younger painters who emulated his style are Giulia Lama, Federico Bencovich, and Francesco Polazzo (1683?C1753). He died in Venice in 1754.
Sally James Farnham
American, 1876-1943