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Boscoli was a prolific draftsman. A student in the school of Santi di Tito (1536-1602), much of his knowledge was, however, self-taught. Time spent in Rome -probably early in the 1580s- enabled him to study both the antique and the more recent work of Polidoro da Caravaggio (c. 1499-c. 1543). Boscoli had returned to Florence by 1582, and thereafter he executed numerous private commissions, for the
He was taught by Giovanni Battista Naldini (c. 1537-1591) the pupil and "artistic heir" of Pontormo (1494-1557). In his turn, Balducci became the spiritual heir to Naldini. Balducci followed his master's style closely and collaborated with him on a number of commissions, for example The Presentation of the Virgin painted in 1590 for Volterra Cathedral. He was active in a number of important commis
One of a family of artists from Borgo San Sepolcro (now San Sepolcro) in Tuscany, he was already active in Rome by c. 1570, where he trained with the Flemish printmaker Cornelis Cort (1533-1578), then settled there. In the 1570s, Cherubino's principal activity was as an engraver, working from designs after Raphael (1483-1520), Michelangelo (1475-1564), Polidoro da Car'avaggio (c. 1499-c. 1543) and
Pieter Kempeneer, known in Spain as Pedro de Campaña, had a significant presence in Sevillian painting during his stay in that city between 1537 and his return to Brussels in 1562. That was a period of extraordinary economic, artist and social development for Seville, and Campaña had much in common with other Northern artists then active in that flourishing city. These artists provided images to t
Considered the pioneer of Dutch seascape painting, he received his training in Delft, where his mother’s family lived. According to Van Mander, his stepfather, a ceramic painter like Vroom’s father, wanted him to follow the same career path. Consequently, Hendrick Cornelisz fled and embarked to Spain. From there, he went to Italy, where he worked for various ecclesiastical patrons in Florence and
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
A Netherlander by birth, Candid moved to Florence with his father, the bronze-caster Elias de Witte, when he was about ten years old. Biographical details are provided by Karel van Mander (1548-1606), whom he met in that city in 1574. According to van Mander, Candid assisted Vasari (1511-1574) with the decoration of the interior of the Sala Regia in the Vatican, as well as with the cupola of Flore
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
One of the most outstanding representatives of painting from Toledo during the early 17th-century, an especially fertile period for that city. The earliest mention of Tristán links him to Toledo's most important painter, calling him an apprentice to El Greco in 1603. He was still there in 1606, but that was the year that he made his first trip to Italy. According to Jusepe Martínez, he was accompa
This Flemish painter specialised in cabinet painting in a wide range of themes, from landscape to depictions of art galleries. Born into a Protestant family, he emigrated to Middelburg in his youth. Later, he returned to Antwerp where he became the master of the Guild of Saint Luke in 1609–1610. Additionally, he actively participated in the intellectual life of the city through his membership of t
At the age of ten, Alonso Sánchez Coello moved with his family to Portugal, where he began his first art studies. John III, king of Portugal, was aware of his talent and in 1550 he paid the young artist’s trip to Flanders to complete his training. There, Sánchez Coello worked for Cardinal Granvela and was a disciple of Anthonis Mor van Dashorst. After returning to Lisbon around 1552, he probably b
A student of Michele di Ridolfo (1503-1577), Poccetti specialized as a frescoist. During his early period, his painted facades in Florence were celebrated enough to earn him the nickname "Bernardino delle facciate"; extant examples include those decorating the Palazzo di Bianca Capello. Following a short period in Rome (1578-1580) he returned to Florence and began also to work on large-stale inter
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
A painter of religious works, still lifes and some frescoes, Juan Pantoja de la Cruz began his career as a portraitist during the reign of Philip II after collaborating with Alonso Sánchez Coello in the final years of the latter's career. He had previously learned his trade in other European courts, where the influence of Antonis Mor was considerable. His finest works are unmistakeable for their s
While this Spanish painter and theorist's painting was never outstanding, his theories reveal the richness of that medium and the singularity of the personnages he had the opportunity to meet, reflecting the interests of his entire period's reflections on art. Pacheco studied with the otherwise unknown teacher Luis Fernández between 1580 and 1585, following mannerist trends from Italy and Flanders
Known as "the Spanish Bassano," Orrente was highly successful in his time and was admired as a follower of the formulas established by that famous family of Venetian artists, especially in his series of paintings on Old-Testament subjects set in lush landscapes. He lived in various Spanish cities, moving from his native Murcia to Toledo at a young age (he was already there by 1600). The Bassano fa
A pupil under Jacopo da Pontormo (1494-1556) until the latter's death; Naldini subsequently moved to Rome around 1560, but soon returned to Florence where he worked principally for the Medici as one of the many artists under the supervision of Vasari (1511-1574). Among his commissions were the decorations for the obsequies of Michelangelo in 1564, and the following year for the marriage of Frances
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