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Tapia, Pedro Juan
Tapia, Pedro Juan

This artist was active in Valencia during the last third of the 16h century. Beginning in 1563 various of his works are mentioned in documents that already refer to him as a "painter." Around 1585, he was working with his brother and fellow painter, Martín, in the province of Zaragoza and in 1590, he was contracted to make an Altarpiece of Saint Leonard for the convent church of La Paridad in Vale

Dubbels, Hendrick Jacobsz
Amsterdam, 1621 - Amsterdam, 1707
Dubbels, Hendrick Jacobsz
Amsterdam, 1621 - Amsterdam, 1707

Little is known about this painter, active in Amsterdam from approximately 1641 as a painter of seascapes, harbour views, beaches and winter landscapes. His early works, grey and blue seascapes, reveal the stylistic influence of Jan Porcellis’s paintings (1583/1585–1632). Between 1650–53, he worked in Simon de Vlieger’s (1600/01–1653) workshop. His influence is perceptible in the type of scenes se

Vroom, Hendrick Cornelisz
Haarlem, H. 1566 - Haarlem, 1640
Vroom, Hendrick Cornelisz
Haarlem, H. 1566 - Haarlem, 1640

He is considered the pioneer of Dutch seascape painting. As regards the painter himself, he received his training in Delft, where his mother’s family lived. According to Van Mander, his stepfather, a ceramic painter just as 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 variou

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

Vollenhoven, Herman van
Utrecht, H.1585 - Utrecht, H.1628
Vollenhoven, Herman van
Utrecht, H.1585 - Utrecht, H.1628

The only known information on this painter is that, in 1611, he belonged to the Guild of Saint Muller, the brotherhood of painters of Utrecht, of which he was a member in 1627–1628. He painted still lifes, portraits and religious scenes, although the latter are only known through printing images (Posada Kubissa, T.: Pintura holandesa en el Museo Nacional del Prado. Catálogo razonado, 2009, p. 260)

Urbino, Carlo
Crema, Act. 1553 - Crema, Dp. 1585
Urbino, Carlo
Crema, Act. 1553 - Crema, Dp. 1585

Urbino's earliest works comprised frescoes -now destroyed- for the Palazzo Zurla at Crema, as well as altarpieces for S. Maria presso S. Celso in Milan (1554-1557). Also in Milan he painted the organ shutters in S. Maria della Passione and decorated the Cappella Taverna in the same church, both of these works evincing contact with the school of Leonardo da Vinci (1452-1519). He was subsequently em

Tintoretto, Domenico
Venice (Italy), 1560 - Venice, 1635
Tintoretto, Domenico
Venice (Italy), 1560 - Venice, 1635

The son of Jacopo (Comin or Robusti) Tintoretto, Domenico trained alongside his father and assisted him in the workshop. He joined the painters' guild at the age of 17 and is documented as a member of their Venetian brotherhood from 1594 onwards. He began his career proper as his father's assistant, helping him execute the paintings for the Sala del Collegio and Sala del Senato of the Doges' Palac

Ribalta, Francisco
Solsona, Lérida (Spain), 1565 - Valencia (Spain), 1628
Ribalta, Francisco
Solsona, Lérida (Spain), 1565 - Valencia (Spain), 1628

This artist of Catalan origin received his early training in El Escorial, where he was surrounded by Spanish and Italian artists and their works and was able to follow their most significant innovations. He thus developed an eclectic style that combined Cincinato's rhetoric with Tibaldi's daring foreshortening and Bartolomé Carducho's gravity with Navarrete's dramatic approach, as well as the chia

Peeters, Clara
Antwerp (?), Ca. 1588/90 - Antwerp (?), Post. 1621
Peeters, Clara
Antwerp (?), Ca. 1588/90 - Antwerp (?), Post. 1621

Because all the information that we have on Clara Peeters comes from her paintings, we have to content ourselves with trying to piece together a limited biography. Her first picture dates from 1607. Her place of birth is not documented, but there are reasons to think that she based her career in Antwerp. A painting in a collection in Amsterdam is described in a document from 1635 as: "a sugar banq

Pacheco, Francisco
Sanlúcar de Barrameda (Spain), 1564 - Sevilla (Spain), 1644
Pacheco, Francisco
Sanlúcar de Barrameda (Spain), 1564 - Sevilla (Spain), 1644

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

Guerra, Giovanni
Modena, 1544 - Rome, 1618
Guerra, Giovanni
Modena, 1544 - Rome, 1618

Guerra arrived in Rome in 1562, where he became a member of the Accademia di S. Luca. He established a workshop with Cesare Nebbia (c. 1536-1614) and together they secured numerous papal commissions. These included the decoration of the Salone Sisto in the Vatican Library (1585-1589) and that of the Scala Santa at Porta S. Giovanni. Guerra and Nebbia collaborated in prepSring the designs for these

Corte, Juan de la
Antwerp (Belgium), 1585 - Madrid (Spain), 1662
Corte, Juan de la
Antwerp (Belgium), 1585 - Madrid (Spain), 1662

Nothing is known of this Flemish-born Spanish painter's early training. The biographer of Spanish painters, Palomino, affirmed that he was born in Spain, but this was disproved by his testament, which lists his place of birth as the Flemish city of Antwerp. There are also documents in which he himself declares that he was trained in Flanders, where "he practiced his trade for many years." He has h

Castello, Bernardo
Genoa, H. 1557 - Genoa, 1629
Castello, Bernardo
Genoa, H. 1557 - Genoa, 1629

Castello was taught by Andrea Semino (c. 1526-1594) and subsequently by Luca Cambiaso (1527-1585); when the latter artist moved to Madrid in 1583, Castello emerged as one of Genoa’s leading painters. Around this time he painted the Stoning of St. Stephen (Palermo, S. Giorgio dei Genovesi), which was copied from Giulio Romano (c. 1499-1546). But Cambiaso’s influence had been so intrinsic to his dev

Carracci, Annibale
Bologna, 1560 - Rome, 1609
Carracci, Annibale
Bologna, 1560 - Rome, 1609

Annibale was probably trained by his elder cousin, Ludovico Carracci (1555-1619), as well as by Bartolomeo Passarotti (1529-1592). In 1582, he and other family members established an academy for the study of art, later known as the Accademia degli Incamminati, which was fundamental to the subsequent development of Bolognese painting in the seventeenth century. Among his earliest works are a number

Carducho, Vicente
Florence (Italy), Ca. 1576 - Madrid (Spain), 1638
Carducho, Vicente
Florence (Italy), Ca. 1576 - Madrid (Spain), 1638

This Italian painter had a fecund and influential career at court in Madrid, especially with religious works whose initial Counter-Reformation classicism evolved towards a sometimes highly intense naturalism. He arrived at San Lorenzo de El Escorial in 1585 with his brother, Bartolomé, who was Federico Zuccaro's assistant and young Vicente's teacher. In 1599, he took part in the decorations for Qu

Carducho, Bartolomé
Florence (Italy), Ca. 1560 - Madrid (Spain), 1608
Carducho, Bartolomé
Florence (Italy), Ca. 1560 - Madrid (Spain), 1608

Of this Italian painter, sculptor and architect, Ceán Bermúdez observed: "Few painters from Italy have been as useful for the fine arts in Spain as Carducho." And indeed, he is a key figure for understanding the development of painting at the Spanish court at the beginning of the 17th century. This is due not so much to his work as to the school of artists that trained under him, beginning with h

Cambiaso, Luca
Moneglia, Liguria, 1527 - El Escorial, Madrid, 1585
Cambiaso, Luca
Moneglia, Liguria, 1527 - El Escorial, Madrid, 1585

Luca Cambiaso was the most celebrated Mannerist painter of the Genoese school, and the inventor of many large-scale fresco decorations in both palaces and churches in the city. As a draftsman, he is celebrated for having invented a style of figure drawing in which form is simplified into geometric, often cubic, components. Trained by his father, the mediocre painter Giovanni Cambiaso (1495-1579),

Breenbergh, Bartholomeus
Deventer, 1598 - Amsterdam, 1657
Breenbergh, Bartholomeus
Deventer, 1598 - Amsterdam, 1657

He was the son of a pharmacist settled in the city of Deventer. After the death of his father around 1607, the family decided to leave the city. He possibly began his training in Amsterdam in the workshop of one of the numerous landscape painters then active in the city, now unknown. According to his own testimony, in 1620 he moved to Rome, where he remained more than seven years. There he produce

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