Carreño de Miranda Claudio Coello ANDALUSIAN SCHOOL(SPANISH PAINTING)

Mazo (1610?-1667), pupil and son-in-law of Velasquez, was one of his most facile imitators, and Carreño de Miranda (1614-1685) was influenced by Velasquez, and for a time his assistant. The Castilian school may be said to have closed with these late men and with Claudio Coello (1635?-1693), a painter with a style founded on Titian and Rubens, whose best work was of extraordinary power. Spanish painting went out with Spanish power, and only isolated men of small rank remained. oil paintings for sale
ANDALUSIAN SCHOOL: This school came into existence about the middle of the sixteenth century. Its chief centre was at Seville, and its chief patron the Church rather than the king. Vargas (1502-1568) was probably the real founder of the school, though De Castro (fl. 1454) and others preceded him. Vargas was a man of much reputation and ability in his time, and introduced Italian methods and elegance into the Andalusian school after twenty odd years of residence in Italy. He is said to have studied under Perino del Vaga, and there is some sweetness of face and grace of form about his work that point that way, though his composition suggests Correggio. Most of his frescos have perished; some of his canvases are still in existence. canvas paintings for sale
Cespedes (1538?-1608) is little known through extant works, but he achieved fame in many departments during his life, and is said to have been in Italy under Florentine influence. His coloring was rather cold, and his drawing large and flat. The best early painter of the school was Roelas (1558?-1625), the inspirer of Murillo and the master of Zurbaran. He is supposed to have studied at Venice, because of his rich,oil painting reproductions for sale, glowing color. Most of his works are religious and are found chiefly at Seville. He was greatly patronized by the Jesuits. Pacheco(1571-1654) was more of a pedant than a painter, a man of rule, who to-day might be written down an academician. His drawing was hard, and perhaps the best reason for his being remembered is that he was one of the masters and the father-in-law of Velasquez. His rival, Herrera the Elder (1576?-1656) was a stronger man—in fact, the most original artist of his school. He struck off by himself and created a bold realism with a broad brush that anticipated Velasquez—in fact, Velasquez was under him for a time. abstract oil paintings for sale
The pure Spanish school in Andalusia, as distinct from Italian imitation, may be said to have started with Herrera. It was further advanced by another independent painter, Zurbaran (1598-1662), a pupil of Roelas. He was a painter of the emaciated monk in ecstasy, and many other rather dismal religious subjects expressive of tortured rapture. From using a rather dark shadow he acquired the name of the Spanish Caravaggio. He had a good deal of Caravaggio's strength, together with a depth and breadth of color suggestive of the Venetians. Cano(1601-1667), though he never was in Italy, had the name of the Spanish Michael Angelo, probably because he was sculptor, painter, and architect. His painting was rather sharp in line and statuesque in pose, with a coloring somewhat like that of Van Dyck. It was eclectic rather than original work. modern abstract art oil painting

FIG. 72.—FORTUNY. SPANISH MARRIAGE.

Murillo (1618-1682) is generally placed at the head of the Andalusian school, as Velasquez at the head of the Castilian. There is good reason for it, for though Murillo was not the great painter he was sometime supposed, yet he was not the weak man his modern critics would make him out. A religious painter largely, though doing somegenre subjects like his beggar-boy groups, he sought for religious fervor and found, only too often, sentimentality. His madonnas are usually after the Carlo Dolci pattern,art oil paintings online, though never so excessive in sentiment. This was not the case with his earlier works, mostly of humble life, which were painted in rather a hard, positive manner. Later on he became misty, veiled in light and effeminate in outline, though still holding grace. His color varied with his early and later styles. It was usually gay and a little thin. While basing his work on nature like Velasquez, he never had the supreme poise of that master, either mentally or technically; howbeit he was an excellent painter, who perhaps justly holds second place in Spanish art. cheap oil paintings for sale