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Vecchi, Giovanni de
Borgo San Sepolcro, 1536/37 - Rome, 1615
Vecchi, Giovanni de
Borgo San Sepolcro, 1536/37 - Rome, 1615

De' Vecchi is almost certainly the same Giovanni dal Borgo who is known to have worked at the Villa d'Este at Tivoli in 1568. It is possible that he had been a student under Raffaello dal Colle (c. 1490-1566) in Rome; it is equally plausible that during the early 1560s he may have worked with Santi di Tito (1536-1602) at the Palazzo Belvedere. However, his earliest documented presence in that city

Novelli, Pietro
Monreale, Sicily (Italy), 1603 - Palermo, Sicily (Italy), 1647
Novelli, Pietro
Monreale, Sicily (Italy), 1603 - Palermo, Sicily (Italy), 1647

Monrealese trained first with his father, Pietro Antonio Novell (1568-1625), and subsequently, in 1618, with Vito Carrera (1555-1623) in Palermo. His earliest dated work, painted in 1626, depicts St. Anthony Abbot (Palermo, S. Antonio Abate), and this, along with many other works throughout Monrealese's career, shows the influence of Anthony van Dyck (1599-1641), who had visited Sicily two years e

Vasari, Giorgio
Arezzo, 1511 - Florence, 1574
Vasari, Giorgio
Arezzo, 1511 - Florence, 1574

He was first taught in his native Arezzo by the little-known French glass painter and fresco painter, Guillaume de Marcillat (1475-1529 or 1537). By 1524, he had moved to Florence, where he worked for Andrea del Sarto (1486-1530), in whose studio he became acquainted with Francesco Salviati (1510-1563). During his early training in Florence, he met Michelangelo (1475-1564) and Baccio Bandinelli (1

Trometta
Pesaro, H. 1540 - Rome, H. 1610
Trometta
Pesaro, H. 1540 - Rome, H. 1610

While still a young artist, Trometta moved to Rome, where he trained in the workshop of the Zuccaro brothers. He was particularly influenced by the work of Taddeo Zuccaro (1529-1566) and, along with Cesare Nebbia (c. 1536-1614), rose to become one of the workshop's principal members. He had acquired independence by 1565, when he received the commission to decorate a Chapel in S. Maria della Consol

Samacchini, Orazio
Bologna, 1532 - Bologna, 1577
Samacchini, Orazio
Bologna, 1532 - Bologna, 1577

Samacchini trained under Pellegrino Tibaldi (1527-1596), but his early work was influenced primarily by such artists as Raphael (1483-1520) and Prospero Fontana (1512-1597), as is detectable in the Marriage of the Virgin (c. 1555-1560) for S. Giuseppe in Bologna. In 1563 he worked in the Vatican, participating in the decoration of the Sala Regia and the Belvedere. This experience of Rome exposed S

Navarrete ''el Mudo'', Juan Fernández
Logroño, Ca. 1538 - Toledo, 1579
Navarrete ''el Mudo'', Juan Fernández
Logroño, Ca. 1538 - Toledo, 1579

Early death put an end to the career of this artist hired by Philip II to depict on canvas the Counterreformation's proposals for devotional images—a subject that greatly concerned the monarch during the decoration of the monastery at El Escorial. Friar José de Sigüenza, the Hieronymite Order's historian, had already noted Philip II's melancholy after Navarrete's death, as well as the posterior em

Morales, Luis de
Badajoz (Spain), hacia 1510 - Alcántara? (Spain), 1586
Morales, Luis de
Badajoz (Spain), hacia 1510 - Alcántara? (Spain), 1586

Luis de Morales was born in 1510 or 1511. In an affidavit made in December 1584, the painter declared himself to “be of the age of seventy-three or four years”, an affirmation that confirms the information given by Antonio Palomino in his “Vidas”. The painter almost certainly died in 1586 in Alcántara, the place where he had settled in the last years of his life. According to the testimony of his

Morales, Cristóbal de
Act. 1551 - Act. 1573
Morales, Cristóbal de
Act. 1551 - Act. 1573

He probably worked at Cornelis Buys's workshop in Antwerp before moving to Portugal, where his work, primarily portraiture, is documented at the court between 1551 and 1573. There, he continued to paint portraits in the Flemish tradition, which had been received through the influence of portraits painted by Antonis Mor for that court. Morales made some religious works—documents show he painted the

Lilio, Andrea
Ancona, Le Marche, Ca. 1570 - Ascoli Piceno, Le Marche, 1635
Lilio, Andrea
Ancona, Le Marche, Ca. 1570 - Ascoli Piceno, Le Marche, 1635

The sources on Lilio's early life are sparse and sometimes contradictory. As a youth he was already active in Rome, since he is recorded in 1583 as beginning work on the four Evangelists beneath the cupola in the Gesu. His early training seems to have been with Cesare Nebbia (c. 1536-1614) and Giovanni Guerra (1544-1618), though he soon after gravitated to the circle of Barocci's followers then wo

Calvaert, Denys
Antwerp, H.1540 - Bologna, 1619
Calvaert, Denys
Antwerp, H.1540 - Bologna, 1619

Flemish painter and draftsman, he was for long active in Italy. In 1556-1557, he is recorded in Antwerp as the pupil of the landscape painter Kerstiaen van Queboom (1515-1578). He arrived in Bologna in c. 1560, where he was to remain for the remainder of his career, except for a period in Rome in 1572-1575. On his arrival in Bologna, he entered the workshop of Prospero Fontana (1512-1597), leaving

Brueghel the Elder, Jan (Jan 'Velvet' Brueghel)
Brussels (Belgium), 1568 - Antwerp (Belgium), 1625
Brueghel the Elder, Jan (Jan 'Velvet' Brueghel)
Brussels (Belgium), 1568 - Antwerp (Belgium), 1625

Born to a family of extraordinary artists, he was the son of Pieter Brueghel the Elder and grandson of Pieter Coecke and Mayken Verhulst Bessermers. Tradition has it that she was his first teacher, as his father died when he was a child. According to writer Karel van Mander his principal teacher was Pieter Goetkind. While he was somewhat influenced by the work of his brilliant father, he always fo

Bertoia
Parma, 1544 - Parma, 1573/74
Bertoia
Parma, 1544 - Parma, 1573/74

Nothing is known of Bertoia's training, but his earliest surviving work, a fragment from the fresco of the Coronation of the Virgin (1566), formerly on the exterior of the Palazzo del Comune, Parma, shows the strong influence of Parmigianino (1503-1540), whose style as a draftsman he perpetuated in his own clever modification of his model. By 1568, he was in the service of the Farnese, the leading

Arpino, Il cavaliere d'
Arpino, Lazio, 1568 - Rome, 1640
Arpino, Il cavaliere d'
Arpino, Lazio, 1568 - Rome, 1640

Giuseppe Cesari's mother, aware of her son's precocious ability in drawing, took him to Rome when he was only about thirteen years old. Here he entered the workshop of Niccolò Circignani (1517/24-before 9 October 1596), where he was soon promoted to the painting team. Circignani was, at this time, directing the decoration of the third Vatican Logge, that of Gregory XIII, and it is here that Giusep

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