Sandro Botticelli
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c. 1445 – May 17, 1510. Italian painter.

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Juan de Espinosa
Bodegon ochavado con racimos de uvas

ID: 74910

Juan de Espinosa Bodegon ochavado con racimos de uvas
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Juan de Espinosa Bodegon ochavado con racimos de uvas


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Juan de Espinosa

Spanish Baroque Era Painter, ca.1590-1641, Spanish painter. Details of his life are scarce. He is documented in Madrid and Toledo between 1612 and 1626, and while he is recorded as having painted religious pictures and portraits (untraced), he is only known today for his still-life paintings. Documents relating to another artist of the same name, known as Juan de Espinosa, dating from 1645 to 1677, concern a different painter.   Related Paintings of Juan de Espinosa :. | A fountain of grape vines, roses and apples in a conch shell | Still-Life with Grapes, Flowers and Shells | Still-Life with Shell Fountain and Flowers | Still-Life with a Shell Fountain, Fruit and Flowers | Bodegon ochavado con racimos de uvas |
Related Artists:
Pawel Andrejewitsch Fedotow
painted Junge Witwe in 1851
gianbattista moroni
1570 bergamo accademia carrara
George Henry Durrie
American Painter, 1820-1863,American painter. Durrie and his older brother John (1818-98) studied sporadically from 1839 to 1841 with the portrait painter Nathaniel Jocelyn. From 1840 to 1842 he was an itinerant painter in Connecticut and New Jersey, finally settling permanently in New Haven. He produced c. 300 paintings, of which the earliest were portraits (e.g. Self-portrait, 1839; Shelburne, VT, Mus.); by the early 1850s he had begun to paint the rural genre scenes and winter landscapes of New England that are considered his finest achievement. His landscapes, for example A Christmas Party (1852; Tulsa, OK, Gilcrease Inst. Amer. Hist. & A.), are characterized by the use of pale though cheerful colours and by the repeated use of certain motifs: an isolated farmhouse, a road placed diagonally leading the eye into the composition, and a hill (usually the West or East Rocks, New Haven) in the distance. By the late 1850s Durrie's reputation had started to grow, and he was exhibiting at prestigious institutions, such as the National Academy of Design. In 1861 the firm of Currier & Ives helped popularize his work by publishing prints of two of his winter landscapes,






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