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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

Balducci, Giovanni
Florence, H. 1560 - Naples,
Balducci, Giovanni
Florence, H. 1560 - Naples,

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

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

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

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

Wtewael, Joachim
Utrecht, 1566 - Utrecht, 1638
Wtewael, Joachim
Utrecht, 1566 - Utrecht, 1638

According to his mentor, the painter and treatise writer Karel van Mander (1548–1606), he began his training with his father Anthonis Jansz. Wtewael, a glassmaker in Utrecht, and continued with the painters Joos de Beer (+1591) and Abraham Bloemaaert (1564–1651). Around 1586, he moved to Italy with his patron Charles Debourgneuf de Cucé, the bishop of Saint Malo. Between 1588–1590, he lived in Pad

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

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

Tintoretta, Marietta Robusti
Venice, 1550 - Venice, 1590
Tintoretta, Marietta Robusti
Venice, 1550 - Venice, 1590

Daughter and follower of Jacopo Robusti Tintoretto, she was known in her time as "buona ritrattista" ("a good portrait painter"), both in Venice and abroad. As with her brother Marco, there is no clear starting point from which to reconstruct her life and artistic activity. There are two drawings by her hand in the Rasini Collection (Milan), and she is also considered responsible for a woman’s por

Seghers, Daniel
Antwerp, 1590 - Antwerp, 1661
Seghers, Daniel
Antwerp, 1590 - Antwerp, 1661

Son of a silk merchant, he emigrated early on with his family to the Northern Netherlands, where he converted to Calvinism. He started studying painting 1605, and upon returning to Antwerp in 1611, he entered the Guild of San Lucas after a period of apprenticeship with Jan Brueghel de Velours. In 1614, he re-embraced the Catholic faith and entered the Jesuits in Mechelen as a layman. Afterwards, h

Rubens, Peter Paul
Siegen, Westphalia (Germany), 1577 - Antwerp (Belgium), 1640
Rubens, Peter Paul
Siegen, Westphalia (Germany), 1577 - Antwerp (Belgium), 1640

No other 17th-century European painter combined artistic talent, social and economic success and a high cultural level like Rubens. Though primarily a painter, he also made numerous designs for prints, tapestries, architecture, sculpture and decorative objects. His abundant work is strikingly versatile in its subject matter, including paintings on mythological, religious and historical subjects as

Procaccini, Giulio Cesare
Bologna, 1574 - Milan, 1625
Procaccini, Giulio Cesare
Bologna, 1574 - Milan, 1625

He descends from a family of artists who moved to Milan in 1587. The first documentary record of his work is the payment for a sculptural work in the cathedral of Milan in 1590. His first dated painting is the Pietà in Santa Maria de San Celso in Milan from 1604, around which time he worked alongside Cerano. It is particularly difficult to determine which of the two was a pioneer in achieving such

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

Naldini, Giovanni Battista
Fiesole, H. 1537 - Florence, 1591
Naldini, Giovanni Battista
Fiesole, H. 1537 - Florence, 1591

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

Momper II, Joost de
Antwerp, Ca. 1564 - Antwerp, 1635
Momper II, Joost de
Antwerp, Ca. 1564 - Antwerp, 1635

After a period of training with his father, Bartholomeus de Momper, he joined the painters’ Guild of Saint Luke in his city around 1581. In 1594, he collaborated with Cornelis Floris on the decorations for the Entry of the Archduke Ernest into Antwerp, and the following year, he produced tapestry cartoons for Albert, Archduke of Austria. Shortly afterwards, he undertook a brief and scarcely docume

Luini, Aurelio
Milan, H. 1530 - Milan, 1593
Luini, Aurelio
Milan, H. 1530 - Milan, 1593

Together with his brother Giovan Pietro, Luini was the perpetuator of the style of their father, the Milanese painter, Bernardino Luini (c. 1480/85-1532), whose premature death left his frescoes in S. Maurizio, Milan incomplete. Executed during the 1550s, they reflect the style both of his deceased father and that of Leonardo da Vinci (1452-1519); they were completed posthumously by his two sons.

Loarte, Alejandro de
Madrid? (Sapain), 1590/1600 - Toledo (Spain), 1626
Loarte, Alejandro de
Madrid? (Sapain), 1590/1600 - Toledo (Spain), 1626

A Spanish painter from Madrid whose father, Jerónimo de Loarte was also a painter and probably Alejandro's first teacher. Little is known abut this artist as he is not mentioned by his contemporaries. Despite his great promise, he must have died while still a youth, as none of his known works dates from before 1622 and his death occurred in 1626, while his father was still alive. We know he marrie

Leoni, Leone
Arezzo, Tuscany, 1509 - Milan, 1590
Leoni, Leone
Arezzo, Tuscany, 1509 - Milan, 1590

The personality of Italian sculptor Leone Leoni is as thrilling as that of his contemporaries, Titian, Michelangelo and Benvenuto Cellini. In 1533, he was a twenty-four-year-old goldsmith living with his wife, Diamante, in Venice as a protégé of poet Pietro Aretino. That period was marked for him by the birth of his son, Pompeo, whom he trained in his studio and introduced to northern Italian circ

Lanchares, Antonio de
Madrid?, Doc. 1590 - Madrid? (Spain), Doc. 1630
Lanchares, Antonio de
Madrid?, Doc. 1590 - Madrid? (Spain), Doc. 1630

In 1639, this painter and disciple of Eugenio Cajés -he was probably José Lanchares's brother- was working for the archbishop of Toledo. Jusepe Martínez indicates that he spent time in Italy at some point, although he does not specify dates. Moreover, his artworks show no particular Italian influence of the sort to be expected after such a visit. His work is openly related to the style of his mast

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