DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.68073#0284
OLD WORLD MASTERS
258
Thenceforward Moro was constantly employed by Philip II to paint
portraits in various Courts, although his headquarters seem to have
been in Utrecht.
Moro trained the Spaniard, Alonso Sanchez Coello (1515?-!590),
who, like himself, was rather stiff and hard, but able to paint a satis-
factory portrait.
Then in 1575 another foreign painter arrived. This time it was a
Greek, Domenico Theotocopoulos (i545?-i6i4), a native of Crete
and said to have studied under Titian in Venice. “El Greco,” how-
ever, caught none of the glowing colors of Venice on his palette.
Austere and gloomy, he settled in austere and gloomy Toledo, where
he lived all the rest of his life painting religious pictures and por-
traits from a strange and morbid point of view.
Francisco de Ribalta (i55i?-i628), revolting against Classic taste,
founded his style on Caravaggio and painted darkly in the “tenebroso”
manner. His pupil, Jusefe Ribera (1589-1652), called “Lo Spagno-
letto,” born near Valencia, settled in Naples, where he filled many
orders for Philip IV.
Francisco Pacheco (1571-1654), and Francisco de Herrera the-Elder
(1576-1656) are chiefly notable because they were the masters of
Velasquez. Herrera originated the “bodegones” (shop-pictures), which
are scenes of popular life.
Francisco Zurbaran (1598-1662), of the School of Seville, was called
“the Spanish Caravaggio.” Through the influence of his friend,
Velasquez, he entered the service of the King. It is said that Philip
IV called him “Pinlor del Rey y Rey de los Pintores” (Painter of the
King and King of the Painters). Zurbaran painted the great altar-
piece in the Cathedral of Seville.
Don Diego de Silva y Velasquez (1599-1660), a native of Seville,
became painter to Philip IV in 1623 and continued in his service all
his life. His works range from such groups as Las Meninas and Las
Hilanderas to portraits of kings, queens, princes, princesses, ladies,
gentlemen, dwarfs, and idiots.
Bartolome Esteban Murillo (1617-1682), a native of Seville, came
of the poor, laboring class and developed into a beloved painter,
258
Thenceforward Moro was constantly employed by Philip II to paint
portraits in various Courts, although his headquarters seem to have
been in Utrecht.
Moro trained the Spaniard, Alonso Sanchez Coello (1515?-!590),
who, like himself, was rather stiff and hard, but able to paint a satis-
factory portrait.
Then in 1575 another foreign painter arrived. This time it was a
Greek, Domenico Theotocopoulos (i545?-i6i4), a native of Crete
and said to have studied under Titian in Venice. “El Greco,” how-
ever, caught none of the glowing colors of Venice on his palette.
Austere and gloomy, he settled in austere and gloomy Toledo, where
he lived all the rest of his life painting religious pictures and por-
traits from a strange and morbid point of view.
Francisco de Ribalta (i55i?-i628), revolting against Classic taste,
founded his style on Caravaggio and painted darkly in the “tenebroso”
manner. His pupil, Jusefe Ribera (1589-1652), called “Lo Spagno-
letto,” born near Valencia, settled in Naples, where he filled many
orders for Philip IV.
Francisco Pacheco (1571-1654), and Francisco de Herrera the-Elder
(1576-1656) are chiefly notable because they were the masters of
Velasquez. Herrera originated the “bodegones” (shop-pictures), which
are scenes of popular life.
Francisco Zurbaran (1598-1662), of the School of Seville, was called
“the Spanish Caravaggio.” Through the influence of his friend,
Velasquez, he entered the service of the King. It is said that Philip
IV called him “Pinlor del Rey y Rey de los Pintores” (Painter of the
King and King of the Painters). Zurbaran painted the great altar-
piece in the Cathedral of Seville.
Don Diego de Silva y Velasquez (1599-1660), a native of Seville,
became painter to Philip IV in 1623 and continued in his service all
his life. His works range from such groups as Las Meninas and Las
Hilanderas to portraits of kings, queens, princes, princesses, ladies,
gentlemen, dwarfs, and idiots.
Bartolome Esteban Murillo (1617-1682), a native of Seville, came
of the poor, laboring class and developed into a beloved painter,