Built in Greek Revival style, the church is noted for its marble altars, a painting of Saint Louis venerating the Crown of Thorns given by Louis XVIII, King of France and Navarre, and an accurate copy of the painting of the Crucifixion by Diego Velázquez installed in the church in the latter half of the twentieth century.
Camillo Massimo (20 July 1620 – 12 September 1677) was an Italian cardinal in 17th century Rome, best remembered as a major patron of Baroque artists such as Pouissin, Lorrain, Velázquez, Duquesnoy, Algardi, Francesco Fontana and Cosimo Fancelli.
Recalled when war broke out between England and Spain in 1624, he participated in Spinola's Siege of Breda (August 1624-June 1625) and is supposedly portrayed on Velázquez' Las Lanzas.
Allegedly Velázquez, Spanish painter, was buried in the Fuensalida vault of the church of San Juan Bautista (Madrid, Spain), and within eight days his wife Juana was buried beside him.
In 1649, Francisco Pacheco (father-in-law of Velázquez) published his Art of Painting firmly establishing the detailed correct iconography for paintings of the Virgin of the Immaculate Conception, which included the circle of stars (he also advised the inquisition in Seville on artistic matters).
The trade paperback edition has over 80 illustrations, many by notable artists Gustave Doré, Lord Frederick Leighton, Léon François Commerre, Lawrence Alma-Tadema, Arthur Hughes, Jean-Léon Gérôme, Ingres, Diego Velázquez, William Bouguereau, Botticelli, John William Waterhouse, and others of the 16th-18th centuries.
His nudes evoke Greek classical sculpture; his portraits from the mid-Nineties were inspired by John Singer Sargent and evoke the paintings of Boldini, Ingres and Velázquez; his black and white portraits of artists recall busts of Roman emperors.
The Equestrian Portrait of Philip III is a portrait of Philip III of Spain on horseback by Diego Velázquez.
Over the centuries the flag or coat of arms of the four Moors were depicted in various ways: without bandage, with blindfold or forehead, left or right, or crowned, with no moors, in reverse, and this according to the mode of the charged artist, such as that under the leadership of Diego Velázquez and Francisco de Zurbaran represented in the Palacio del Buen Retiro in Madrid.
Prolonged visits to the town were made by artists from other parts of Italy and other countries, including Velázquez, Van Dyck, the French sculptor Pierre Puget, Bernardo Strozzi and Giovanni Benedetto Castiglione.
Thanks to his fashion of allying the "melting touch of Riaud with the Castillian vehemence of Vélasquez", he gave birth to a new iconography for the Spanish Bourbons.
He is primarily known as a member of the household and workshop of painter Diego Velázquez.
He is wearing the collar of a Knight of the Order of the Golden Fleece, awarded 1648, number 421, hence, it was painted by Diego Velázquez before his second trip to purchase paints for King Philip IV in Italy.
She originally trained as a painter at Munich Academy of Art, and is influenced by painters such as Agnolo Bronzino, Diego Velázquez, Phillip Otto Runge.
The painting shows the influences of his tutors in France, Jean-Léon Gérôme and Léon Bonnat, and of Diego Velázquez, the Spanish artist.
A part of the Lobkowicz collection of paintings is stored in the castle, including works of Diego Velázquez, Antonio Canaletto, Pieter Bruegel the Elder, Peter Paul Rubens and others.
The Portrait of Philip IV in Armour is a portrait of Philip IV of Spain by Velázquez now in the Museo del Prado in Madrid.
The house is well known as the original English home of the painting The Toilet of Venus by Diego Velázquez, now known in English as The Rokeby Venus.
After finishing formal education he independently studied the old masters such as Leonardo da Vinci, Titian, Caravaggio, Rembrandt, Johannes Vermeer, Diego Velázquez, Goya and J.M.W. Turner.
The book opens with an extended discussion of Diego Velázquez's painting Las Meninas and its complex arrangement of sightlines, hiddenness, and appearance.
In the 1650s, Diego Velázquez painted several depictions of this Villa's garden casino festively illuminated at night.
San Diego | San Diego Padres | Diego Velázquez | University of California, San Diego | Diego Rivera | San Diego Chargers | Diego Maradona | San Diego State University | San Diego County | San Diego Comic-Con International | San Diego County, California | San Diego Zoo | University of San Diego | Diego Torres | Marine Corps Recruit Depot San Diego | Diego Forlán | Diego | San Diego Unified School District | San Diego Bay | San Diego Air & Space Museum | Spring Valley, San Diego County, California | San Diego Supercomputer Center | San Diego Opera | San Diego High School | Museum of Contemporary Art San Diego | Diego Luna | Street Scene (San Diego music festival) | San Diego Trolley | San Diego Natural History Museum | San Diego Freeway |
(vi) The Foresight, referring to the sculptor's strength of vision which resembles and conjures Goya's Giant as well as comparison with "Velazquez and Rembrandt", as Saltz completes his list.
After initial experiments in the styles of Paul Cézanne and Henri Matisse, Weissbort re-focused his energies towards the study of the "Old Masters", developing an enduring interest in the work of such artists as Johannes Vermeer, Jean-Baptiste-Siméon Chardin, Diego Velázquez, Jean-Baptiste-Camille Corot, Andrea Mantegna and Titian.
The novel is written in the first person as by the title character, Juan de Pareja, a half-African slave of the artist Diego Velázquez, and model for one of Velázquez's most noted paintings, who earns his freedom through his own merits, artistic and otherwise.
Paintings by Velázquez, Titian, Poussin, and Claude Lorraine, as well as an unrivalled series of 18th-century family portraits by artists such as Gainsborough, Reynolds, Vigee-Lebrun, Batoni, Angelica Kauffman, Ramsay, Van Loo, and Hogarth.
In 1780, Opie travelled with Wolcot to London, where they shared a residence together, having entered into a formal profit-sharing agreement; Wolcot introduced the "Cornish wonder" to other artists, including the great Sir Joshua Reynolds, who went on to compare him to Caravaggio and Velazquez, and to prospective patrons.
Inspired by van Dyck and particularly Diego Velázquez, he excelled in depicting scenes from the English 16th- to 18th-century Tudor and Stuart periods, including in particular the Spanish Armada, the English Civil War and the Jacobite rebellions.
He came to the notice of Velázquez for his work in the cloister of Doña María de Aragón and in the church of El Rosario.
La Caze's salon in the rue du Cherche-Midi was open to progressive artists such as Degas and Manet or François Bonvin, who were training their manner on close examination of painters like Velázquez, whose Portrait of the Infanta Marie-Therese (1653) was in La Caze's collection, and Jusepe de Ribera, at a time when the Spanish school of painting was largely ignored in French official circles.
He moved to New York and began studying on his own artists such as John Singer Sargent, Edgar Degas, Henri de Toulouse-Lautrec, Diego Velázquez, James McNeill Whistler and Édouard Vuillard.
Touted as the subtle sort of fetish erotica that relies on the drama of melancholia instead of on pure eroticism as secret springboards for erotic imaginings, trance painting is deemed by de Veyra to have been culled from the art of Blue Period Picasso, Diego Velázquez as much as Raphael, Chagall, Giorgio de Chirico, Nobuyoshi Araki and the "defamiliarization" technique of the Russian Formalists.
Initially the Avant-garde, Art Brut and American abstract Expressionism (e.g. Pollock had a big impact on him) influenced Barceló's work, on the other hand he was always particularly interested in the Baroque paintings of Diego Velázquez, Tintoretto and Rembrandt.
The former dormitory houses a permanent exhibition of painters such as Rubens, Canaletto, Tintoretto, Velázquez and Beato Angelico (Virgin of the Humility, one of his masterworks).
However, its equestrian statue of the king dates to the 17th century and was produced by the Italian sculptor Pietro Tacca using scientific advice from Galileo Galilei and drawings by Diego Velázquez and a bust by Juan Martínez Montañés (who also collaborated on the work).
Portrait of Don Luis de Góngora is a 1622 painting in oils of the poet Luis de Góngora by Diego Velázquez.
Portrait of Francisco Lezcano or The "Niño de Vallecas" is the 1645 portrait by Diego Velázquez of Francisco Lezcano (died 1649), also known as Lezcanillo or el Vizcaíno, a jester at the court of Philip IV of Spain.
Portrait of Pablo de Valladolid is a portrait by Diego Velázquez of Pablo or "Pablillos" de Valladolid, 1587–1648, a jester and actor at Philip IV's court from 1632 until his death.
The Portrait of Sebastián de Morra is a portrait by Diego Velázquez of Sebastián de Morra, a dwarf and jester at the court of Philip IV of Spain.
Portrait of the Infante Don Carlos is a 1626/27 oil painting of Don Carlos of Spain (brother to Philip IV of Spain), produced by Diego Velázquez as one of the first paintings he produced during his stay in Madrid.
Some other artists who have portrayed the Supper are Jacopo Bassano, Pontormo, Vittore Carpaccio, Philippe de Champaigne, Albrecht Dürer, Benedetto Gennari, Jacob Jordaens, Marco Marziale, Pedro Orrente, Tintoretto, Titian, Velázquez and Paolo Veronese.
The Jester Barbarroja (El bufón Barbarroja) is a portrait of Cristóbal de Castañeda y Pernia, nicknamed Barbarroja in his role as a jester at the court of Philip IV of Spain from 1633 to 1649, by Diego Velázquez.
The Jester Calabacillas is a portrait by Velázquez of Don Juan Martín Martín, "Juan de Calabazas" or "El Búfón Calabacillas", a jester at the court of Philip IV of Spain, sometimes known by the nickname Bizco.