I found the following paragraph on the internet, and the picture, but lost the URLs. If anyone finds the sources, please let me know so that I can credit them. I have nonetheless included them here as they are relevant to the main pages.

JOHANN JOSEPH FUX (1660–1741), a leading Austrian Baroque composer was born the son of a farmer in St. Marein near Graz. At the end of the 1670s he was sent by the village priest to Graz in order to study to become a priest himself. In February 1681 he entered the Graz Ferdinandeum, transferring to the Jesuit University at Ingolstadt in 1683, the year that the Turks besieged Vienna. He seems to have left Ingolstadt at the end of 1688.
In 1696 he assumed the position of organist in the Vienna Schottenkloster (“Monastery of the Scots”), and in the autumn of 1698 he was appointed court composer. In 1711 he became vice-musical director to the court, and finally, in 1715, musical director. Alongside church music, his chief task at the Vienna court was the composition of operas and oratorios.
J. J. Fux wrote over 500 works in total, and served under three emperors. This is a clear indication of his status and demand as one of the leading musicians of his time.

Further evidence of the high regard in which Fux was held is provided in Philip Spitta's biography of J.S. Bach: "... [in Gradus ad Parnassum, Fux] begins the course of composition with simple two-part counterpoint, note against note, and after a thorough working out of the five kinds of simple two, three, and four-part counterpoint, he proceeds gradually to imitation, to fugue in two, three, and four parts; he next treats of double counterpoint, applying the same again to fugue, and concludes with some chapters on the church style and recitative, thorough-bass and harmony remaining unnoticed. This method was really new at that time in certain circles, and Fux designated it as such, nor does he attempt to conceal the reactionary spirit which led him to oppose the increasing arbitrariness and lawlessness in music. In fact, it was only a revival and completion of the musical teaching of the sixteenth century, and refers only to unaccompanied vocal music in the polyphonic style, and Fux wished this to be regarded as the starting point of all musical education. ... it is allowable to conclude that Bach paid full recognition to the method of Fux. For no other than a pupil of his own, Mizler, translated, under Bach's very eye, as it were, the Gradus ad Parnassum into German, and when Mizler, referring to the value of the work, says that it had been well received by those who really knew what a good composition was, he must doubtless refer most directly to Bach."