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Felipe Diricksen, also Diriksen or Deriksen, (1590-1679), was a Spanish Baroque painter primarily of portraits and religious paintings, and a member of a family of Flemish painters.
Diricksen was born and baptized in San Lorenzo de El Escorial in 1590. He was grandson of Anton van den Wyngaerde, called in Spain Antonio de las Viñas, and son of the painter of Rodrigo Diricksen. He grew up in Oudenburg but settled in Spain while still in childhood. At twenty he married Ana Oliver y Bobadilla, whose dowry included land and a residence. In 1612 he entered the service of King Philip III of Spain as an official court painter. In 1620 he painted a portrait of King Philip III in Lisbon depicting the swearing in ceremony with a view of the city in the distance.
Few details follow about his life, almost all refer to his continued status as official court painter, which remained in effect until 1639, and even up to 1678 he was still designated as "on reserve". In his will he claimed to have been the father of eight children, one of whom, Gabriel, also took up painting. The absence of news for the last thirty years of his life can be filled, in part, from the will of 1676 and the inventory of his works. Religious painting must have been his main occupation in those final years, citing those documents, without further specification, many paintings made for Don Jeronimo de Mascarene and the Order of Saint Benedict, together, perhaps, with teaching the craft.
Diego Rodríguez de Silva y Velázquez was a Spanish painter, the leading artist in the court of King Philip IV of Spain and Portugal, and of the Spanish Golden Age. He was an individualistic artist of the Baroque period. He began to paint in a precise tenebrist style, later developing a freer manner characterized by bold brushwork. In addition to numerous renditions of scenes of historical and cultural significance, he painted scores of portraits of the Spanish royal family and commoners, culminating in his masterpiece Las Meninas (1656).
Alonso Sánchez Coello was an Iberian portrait painter of the Spanish and Portuguese Renaissance. He is mainly known for his portrait paintings executed in a style which combines the objectivity of the Flemish tradition with the sensuality of Venetian painting. He was court painter to Philip II.
Maria Anna of Spain was a Holy Roman Empress and Queen of Hungary and Bohemia by marriage to Ferdinand III, Holy Roman Emperor. She acted as regent on several occasions during the absences of her spouse, notably during his absence in Bohemia in 1645.
Juan Pantoja de La Cruz was a Spanish painter, one of the best representatives of the Spanish school of court painters. He worked for Philip II and Philip III. The Museo del Prado contains examples of his severe portraiture style.
Friar Juan Bautista Maíno, or Mayno was a Spanish Baroque painter.
Félix Castello or Castelo was a Spanish painter of the Baroque period.
Cristóbal García Salmerón was a Spanish painter of the Baroque period.
Angelo Nardi da Razzo was an Italian painter of the early Baroque period; active primarily in Spain.
Tomás de Yepes or Hiepes was a Spanish painter in the Kingdom of Valencia. An artist of the Baroque movement, he worked as a painter of still life and bodegón—still life paintings depicting pantry items. He made paintings both for clients and public events. Although his activity started in the second decade of the 17th century, most of the works attributed to him come after 1642. He continued to paint until the year of his death.
Francisco López was a Spanish painter and engraver. He was a pupil of Bartolommeo Carducci, whom he assisted in 1595 in painting for the church of San Felipe el Real at Madrid, destroyed by fire in 1718. He was appointed painter in ordinary to King Philip III of Spain. In 1603, he painted a series of paintings representing the victories of Charles V in the King's dressing-room at the Pardo Palace. He also etched the third, sixth, and seventh plates for Vincenzo Carducci's Dialogues on Painting. He also painted Saint John the Baptist which is now at the Real Academia de Bellas Artes de San Fernando.
Benito Manuel Agüero (1624–1668) was a Spanish painter of the Baroque period, active mainly in Madrid as a landscape and battle painter.
The Salón de Reinos or salón grande is a 17th-century building in Madrid, originally a wing of the Buen Retiro Palace. The Salón de Reinos and the Casón del Buen Retiro are the only survivors of the original grand scheme of the palace. Built between 1630 and 1635, the Hall of Realms housed the largest paintings in the royal collection, now all in the Museo del Prado. It is named after its paintings of the coats of arms of the 24 kingdoms which formed the Kingdom of Spain at the time of Philip IV of Spain.
Bartolomé González y Serrano (1564–1627) was a Spanish Baroque painter specializing in portraits that represent a continuation of Renaissance court portrait types practiced by Alonso Sánchez Coello and especially by Juan Pantoja de la Cruz.
Andrés López Polanco, was a Spanish Baroque painter specializing in portraits. Documented in Madrid between 1608 and 1641, he worked for the court of King Philip III of Spain and King Philip IV of Spain. His exact date of birth is unknown.
Juan Fernández, nicknamed El Labrador, was a Spanish Baroque painter active between 1629 and 1636, specializing in still life painting.
Antonio Ponce was a Spanish Baroque painter who specialized in still-lifes and garlands.
Francisco de Solís, was a Spanish painter in the Baroque style. He also collected drawings and compiled biographies of other Spanish painters.
Valero Iriarte was a Spanish Baroque painter; specializing in portraits.
Spanish Baroque painting refers to the style of painting which developed in Spain throughout the 17th century and the first half of the 18th century. The style appeared in early 17th century paintings, and arose in response to Mannerist distortions and idealisation of beauty in excess, appearing in early 17th century paintings. Its main objective was, above all, to allow the viewer to easily understand the scenes depicted in the works through the use of realism, while also meeting the Catholic Church's demands for 'decorum' during the Counter-Reformation.
The Spanish royal collection of art was almost entirely built up by the monarchs of the Habsburg family who ruled Spain from 1516 to 1700, and then the Bourbons. They included a number of kings with a serious interest in the arts, who were patrons of a series of major artists: Charles V and Philip II were patrons of Titian, Philip IV appointed Velázquez as court painter, and Goya had a similar role at the court of Charles IV.
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