Juan de Espinosa, (active 1628 and 1659), Spanish Baroque painter specializing in still life painting. There is a great deal of confusion in the documentation of de Espinosa's life and works because there are a number of artists using the same name who also painted still lifes around the same time.
Juan de Espinosa, gilder of altarpieces, was documented in Madrid between 1608 and 1613, married Maria de Aranda in the parish of San Sebastián. The second son of this marriage, born in 1610 and also named Juan, might be the better known of the two still-life painters of this name.
The greatest of still-life painters Espinosa was signing his works Joanes Bapta. Despinosa faciebat Anno D’1624. A still life of silver pieces, using the same formula he used in 1612, was submitted to join the brotherhood of the Sacrament of the parish of San Sebastian in Madrid. In uncertain date valued the altarpiece of the parish of Alcaudete de la Jara. Little else is known about him except that he had died already in 1641 when his widow made a will. Stylistically a painter closely associated with the work of Juan van der Hamen, with the same sense of order and symmetry.
The second, younger, still active in 1659, Juan de Espinosa signed the letter of dowry the painter Francisco de Burgos Mantilla in 1645, the same date wearing a still life of flowers and fruits, The Louvre Museum, signed in the same way. This is a free painter of bright colors and strong lighting applied to complex compositions. In the same hand as the Louvre are two separate oil fruit still life Museo del Prado and the dead bird life with the Museum of Córdoba, from three of the royal collections, all of which shows the same precious treatment of grapes, made based glazes, clear red and intonation. More complex is the relationship established between the individual parts still life with grapes octagonal, signed in 1646, entered in 2006 at the Museo del Prado, which again appears a dead bird, but now in a diagonal, between bunches of grapes, pears, apples, some dried fruit and Mexican red clay pileup similar to that used in the still life of the Louvre. The detailed treatment and also fresh fruit, particularly grapes, which seem to receive the light from within, and the use of back to profile branch leaves, approximates stylistically the work of this painter to the work of Juan Fernández, Labrador.
Still another Juan de Espinosa was a known contemporary painter who died in 1653 in San Millán de la Cogolla, while working on the paintings of the cloister, painter of religious works discreet respect for tradition chiaroscuro.
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Francisco de Zurbarán was a Spanish painter. He is known primarily for his religious paintings depicting monks, nuns, and martyrs, and for his still-lifes. Zurbarán gained the nickname "Spanish Caravaggio", owing to the forceful use of chiaroscuro in which he excelled.
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Juan Sánchez Cotán was a Spanish Baroque painter, a pioneer of realism in Spain. His still lifes and bodegones were painted in an austere style, especially when compared to similar works in the Netherlands and Italy.
Juan de Arellano was a Spanish painter of the Baroque era who specialized in floral still life paintings.
Francesco Ribalta , also known as Francisco Ribaltá or de Ribalta, was a Spanish painter of the Baroque period, mostly of religious subjects.
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Juan van der Hamen y (Gómez de) León was a Spanish painter, a master of still life paintings, also called bodegones. Prolific and versatile, he painted allegories, landscapes, and large-scale works for churches and convents. Today he is remembered mostly for his still lifes, a genre he popularized in 1620s Madrid.
Esteban March was a Spanish Baroque painter. Most of what is known about his life comes from writings by Antonio Palomino, who lived slightly later.
Bartolomé Pérez de la Dehesa was a Spanish painter of the Baroque period.
Félix Castello or Castelo was a Spanish painter of the Baroque period.
Benito Espinós was a Spanish painter who specialized in floral still-lifes and ornamentation.
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.
Felipe Ramírez was a Spanish painter of Seville, active as a still-life painter during the 17th century. He was probably a relation of Gerónimo Ramírez, and was active at the same period. He painted hunting-pictures, dead game, birds, and various other subjects. He also painted a Still Life with Cardoon, Francolin, Grapes and Irises which is now at the Museo del Prado in Madrid and a Martyrdom of St. Stephen for a church in Seville, Spain.
Pedro de Camprobín Passano was a Spanish Baroque painter who specialized in still-lifes; primarily flowers.
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Mateo Cerezo, sometimes referred to as The Younger was a Spanish Baroque painter; known primarily for religious works and still-lifes.
Juan Fernández, nicknamed El Labrador, was a Spanish Baroque painter active between 1629 and 1636, specializing in still life painting.
William Bryan Jordan Jr. was an American art historian who facilitated acquisitions, curated exhibitions, and authored publications on Spanish artists and still life paintings, particularly from the Golden Age.
