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Maganza, Alessandro
Vicenza, 1556 - Vicenza, Después de 1630
Maganza, Alessandro
Vicenza, 1556 - Vicenza, Después de 1630

Alessandro Maganza, was the best-known member of a family of painters from Vicenza, in whose workshop he trained before moving to that of Giovanni Antonio Fasolo (1530-1572). Thereafter he was in Venice (c. 1572-1576), and his subsequent work shows the various influences of the leading artists of that city: Tintoretto (1519-1594), Veronese (1528-1588), and Palma Il Giovane (c. 1548-1628) as well a

Ligozzi, Jacopo
Verona, 1547 - Florence, 1627
Ligozzi, Jacopo
Verona, 1547 - Florence, 1627

Ligozzi grew up in a family of painters and artisans in Verona, and arrived in Florence around 1577, at the invitation of Francesco I de' Medici, to work as court decorator, designing tapestries, objets and furniture. But Ligozzi also secured large-scale painting commissions, such as that to decorate the ephemeral architecture that had been erected at the Palazzo Vecchio in 1589, to celebrate the

Nebbia, Cesare
Orvieto, H. 1536 - Orvieto, 1614
Nebbia, Cesare
Orvieto, H. 1536 - Orvieto, 1614

Nebbia was a prolific painter and draftsman, a student under Girolamo Muziano (1532-1592), but influenced also by Federico Zuccaro (1540/42-1609). Between 1562 and 1575 he worked continuously as a frescoist in the cathedral at Orvieto, for which he also executed altarpieces. He subsequently moved to Rome, where again he produced altarpieces for various churches, as well as decorations at the Sforz

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

Zuccaro, Federico
Sant'Angelo in vado, Le Marche, 1540/41 - Ancona, Le Marche, 1609
Zuccaro, Federico
Sant'Angelo in vado, Le Marche, 1540/41 - Ancona, Le Marche, 1609

He was taught by his older brother Taddeo (1529-1566) in Rome, where he helped him on a number of decorative projects in the city. After a short visit to Venice, he was in Florence in the mid-1560s, becoming a member of the Florentine Accademia del Disegno. On the death of Taddeo in 1566, he returned to Rome, where for a while he was occupied completing a number of commissions started by his broth

Yáñez de la Almedina, Fernando
Ca. 1489 - Ca. 1536
Yáñez de la Almedina, Fernando
Ca. 1489 - Ca. 1536

This artist considered"Spain's most exquisite Renaissance painter" by Elías Tormo was first mentioned in 1575 in Relaciones de los pueblos de España as "licenciado Yáñez" from the village of Almedina. He also appears in a roster of painters compiled by Hernando de Ávila in his "Art of painting" and included by Diego de Villalta in 1590. In the 17th century, he was mentioned by Juan de Butrón, and

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

Siciolante da Sermoneta, Girolamo
Sermoneta, H. 1521 - Rome, 1575
Siciolante da Sermoneta, Girolamo
Sermoneta, H. 1521 - Rome, 1575

Siciolante became an assistant to Perino del Vaga (1501-1547) following a probable apprenticeship with Leonardo Grazia da Pistoia (active in 1520-1550). His earliest certain surviving work -an altarpiece depicting the Virgin and Child with Saints Peter, Stephen and John the Baptist (1541) for SS. Stefano e Pietro, Valvisciolo- reflects the influence of both artists. While this is a rudimentary pie

Reni, Guido
Calvezzano, Bologna, Emilia-Romagna, 04/11/1575 - Bologna, Emilia-Romagna, 18/08/1642
Reni, Guido
Calvezzano, Bologna, Emilia-Romagna, 04/11/1575 - Bologna, Emilia-Romagna, 18/08/1642

The triumph of Annibale's oeuvre in Rome paved the way for the disciples of the Carracci family to work at the court of the popes, especially when a cardinal of Bologna acceded to the papal throne as Gregory XV. One of these followers was Reni, who is considered the best known and most prolific artist of the Bolognese school and also the most important. He is without a doubt the best artist who em

Passignano
Passignano, 1559 - Florence, 1638
Passignano
Passignano, 1559 - Florence, 1638

He studied in Florence under Girolamo Macchietti (1535-1592) and Giovanni Battista Naldini (c. 1537-1591), but his principal master was Federico Zuccaro (1540/41-1609), whit whom he worked from 1575 to 1579 on the fresco decoration of the cupola of Florence Cathedral, left incomplete at Vasari’s death. Following periods of activity in Rome (1580-1582) and Venice (1582-1588), Passignano returned to

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

Heda, Willem Claesz
Haarlem, 1594 - Haarlem, 1680
Heda, Willem Claesz
Haarlem, 1594 - Haarlem, 1680

He came from a wealthy family. Nothing is known about his artistic training. A document from 1620 already cites him as a painter in Haarlem. From 1631 onwards, he is documented in the book of the Haarlem Guild of Saint Luke, of which he was a council member on repeated occasions between 1637 and 1652; deken (dean) in 1641 and 1642 and hoofdman (captain) in 1637, 1643 and 1651. Since 1637, he admit

Claesz., Pieter
Berchem (Belgium), 1596/1597 - Haarlem, 1660
Claesz., Pieter
Berchem (Belgium), 1596/1597 - Haarlem, 1660

Little is known about his life with certainty. From a document dated 29 September 1640, in which the painter states that he was 41 years old, it can be presumed that he was born between 1596 and 1597. His marriage date to Geertje Hendricksdr in Haarlem is documented as 21 May 1617. The couple had two children, Riekje and Claes, the latter of whom became a well-known landscape painter with the name

Cesi, Bartolomeo
Bologna, 1556 - Bologna, 1629
Cesi, Bartolomeo
Bologna, 1556 - Bologna, 1629

Cesi was born into a wealthy family and received a humanist education before he studied painting. Little is known of his training, which was probably under Giovanni Francesco Bezzi (c. 1500-1571), and the first commission that is securely attributable to him were the frescoes depicting the Life of the Virgin (1574) in the Vezzi Chapel in S. Stefano, Bologna. Around the same time he also assisted P

Balen, Hendrick van
Antwerp, 1575 - 1632
Balen, Hendrick van
Antwerp, 1575 - 1632

He received his training from Adam van Noort and Martin de Vos. In 1592–1593, he entered the Guild of Saint Luke as a master in the city of Antwerp. Shortly afterwards, he travelled to Italy where he remained until 1600–1602, visiting Rome and Venice. There is no record of his works from his time in Italy, although his early paintings reveal a great similarity to the works of Annibale Carracci and

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