Spanish, 1614-1685 was a Spanish painter of the Baroque period. Born in Avil's in Asturias, son of a painter with the same name, Juan Carreño de Miranda. His family moved to Madrid in 1623, and he trained in Madrid during the late 1620s as an apprentice to Pedro de Las Cuevas and Bartolom Roman. He came to the notice of Velezquez for his work in the cloister of Doña Maria de Aragen and in the church of El Rosario. In 1658 Carreño was hired as an assistant on a royal commission to paint frescoes in the Alcezar palace, now the Royal Palace of Madrid. In 1671, upon the death of Sebastian de Herrera, he was appointed court painter to the queen (pintor de cemara) and began to paint primarily portraits. He refused to be knighted in the order of Santiago, saying Painting needs no honors, it can give them to the whole world. He is mainly recalled as a painter of portraits. His main pupils were Mateo Cerezo, Cabezalero, Donoso, Ledesma y Sotomayor. He died in Madrid. Noble by descent, he had an understanding of the workings and psychology of the royal court as no painter before him making, his portraits of the Spanish royal family in an unprecedented documentary fashion  Related Paintings of Miranda, Juan Carreno de :. | Portrait of Queen Mariana de Austria as a Widow | Charles II as Grandmaster of the Golden Fleece | La reina Mariana de Austria de luto | Portrait of the Duke of Pastrana | Portrait of the Duke of Pastrana |
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Anthonis Mor
(c. 1517 - 1577) was a Netherlandish portrait painter, much in demand by the courts of Europe. He has also been referred to as Antoon, Anthonius, Anthonis, or Mor van Dashorst, Antonio Moro, Anthony More, etc., but signed most of his portraits as, Anthonis Mor. Mor was born in Utrecht, Netherlands by some estimation between 1516 and 1520. What is known of his early life is that his artistic education commenced under Jan van Scorel. His earliest work is probably a portrait at Stockholm, dated 1538. A group of Knights of St. John, at Utrecht, supposed to have been painted about 1541; a picture of two pilgrims at the Gemäldegalerie, Berlin, dated 1544; together with the portrait of an unknown woman, in the Lille gallery, were probably among his earliest works although their authenticity has not been proved. In 1547, he was received as a member of the Venerable Guild of St. Luke at Antwerp, and shortly afterwards (about 1548) he attracted the attention of Cardinal Granvelle, Bishop of Arras, who became his steady patron. Of the portraits executed during the early period of his career as Granvelle's protege, two are especially notable: one of the bishop himself (in the imperial gallery in Vienna), and one of the Duke of Alba, which now belongs to the Hispanic Society of New York. Between 1549 and 1550 Prince Philip II of Spain (1527-1598) traveled around the Netherlands to present himself as the future ruler. Mor painted his portrait in Brussels in 1549. He probably visited Italy (when exactly is not known) where he copied some works by Titian, notably the Danaë.
Emanuel Gottlieb Leutze
German-born American Romantic Painter, 1816-1868,American painter of German birth. When he was nine, Leutze's family emigrated to America and settled in Philadelphia. In 1834 he began to study art with the draughtsman John Rubens Smith (1775-1849). Leutze developed his skills as a portrait painter by taking likenesses to be engraved for publication in the National Portrait Gallery of Distinguished Americans and then working as an itinerant painter. He also experimented with imaginative compositions, such as the Poet's Dream (Philadelphia, PA Acad. F.A.). Philadelphia patrons sponsored his study in Europe, and in 1841 he enrolled at the K?nigliche Kunstakademie in Desseldorf. Although attempts at history painting won approval in Germany and in the USA, Leutze left the academy in 1843. He travelled for two years in Germany and Italy, during which time he became convinced of the importance of freedom and democracy, which he believed to be fundamental institutions of the American political system.
Pine, Robert Edge
American, 1720-88 English painter, active also in America. His father, John Pine (1691-1756), was a well-known engraver and printseller of whom William Hogarth painted a portrait (c. 1755; Fredericton, NB, Beaverbrook A.G.). Robert Edge Pine was initially considered to have the potential to rival Joshua Reynolds as a portrait painter, a promise derived from such works as the full-length portrait of George II (1759; Audley End, Essex), painted without a sitting being granted him by the King. In 1760 he won a premium at the Society of Arts, London, for a history painting, the Surrender of Calais to Edward III, also known as the Burghers of Calais (untraced), which was engraved in 1762 by Fran?ois Germain Aliamet (1734-88), and another in 1763 for Canute the Great Reproving his Courtiers for their Impious Flattery (untraced), also engraved by Aliamet. Pine was not invited to become a founder-member of the Royal Academy in 1768, probably because of his radical politics; that year he painted a portrait of the political agitator John Wilkes (London, Westminster Hall). In 1772 he left the Society of Arts following a quarrel over its choice of directors; he moved to Bath, where he joined his brother, Simon Pine (d Aug 1772), a painter of miniatures. Their sister was married to the landscape painter Alexander Cozens. While at Bath Pine painted his most ambitious family group,