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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

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

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

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

Stom, Matthias (also called Stomer)
Amersfoort (Netherlands), H.1600 - Sicily (Italy), Después.1650
Stom, Matthias (also called Stomer)
Amersfoort (Netherlands), H.1600 - Sicily (Italy), Después.1650

Little is known about this Dutch painter who settled in Italy. The earliest extant documentary reference to Stom is the parish family book from 1630 and 1631 in the Roman church of San Nicola in Arcione, where it is recorded that he was 30 years old and lived on the strada dell’Olmo. Therefore, his date of birth can be placed around 1600. Amersfoort has been his assumed place of birth, although d

Snayers, Peter
Antwerp (Belgium), 1592 - Brussels (Belgium), 1667
Snayers, Peter
Antwerp (Belgium), 1592 - Brussels (Belgium), 1667

Although there are no records in the Guild of Saint Luke showing him as a pupil of Sebastian Vrancx, it is clear that he received his initial training from this painter. He subsequently joined the Guild as a master around 1612–1613. Like Vrancx, he specialised in battle scenes. Even though at the beginning of his career he produced small paintings depicting scenes of skirmishes and path robberies

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

Passerotti, Bartolomeo
Bologna, 1529 - Bologna, 1592
Passerotti, Bartolomeo
Bologna, 1529 - Bologna, 1592

Probably at the instigation of the architect Vignola (1507-1573), Passerotti received his education in Rome, as the pupil of Taddeo Zuccaro (1529-1566). He remained there for around fifteen years, during which time he earned a reputation as a distinguished portraitist, a genre he continued to pursue throughout his career. But one of Passerotti's first works following his return to Bologna, the Vir

Young Palma (Jacopo Negretti)
Venice, 1544 - Venice, 1628
Young Palma (Jacopo Negretti)
Venice, 1544 - Venice, 1628

Jacopo Negretti, known as Palma "il Giovane" to distinguish him from his great uncle Palma "il Vecchio," spent his formative years at the court of Urbino and in Rome, where he was influenced by Taddeo Zuccaro (1529-1566) and Federico Zuccaro (1540/41-1609). He returned to Venice around 1573 where, following the fire at the Palazzo Ducale in 1577, he received his first public commission: three ceil

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

Benso, Giulio
Pieve di Teco, Liguria, 1592 - Pieve di Teco, Liguria, 1668
Benso, Giulio
Pieve di Teco, Liguria, 1592 - Pieve di Teco, Liguria, 1668

On his arrival in Genoa in c. 1605, Benso sought the protection of Gian Carlo Doria, in whose household he found lodgings. On Doria's recommendation, Benso was apprenticed to Giovanni Battista Paggi (1554-c. 1627), whose workshop was one of the largest and most successful in Genoa at the time. Following Paggi's death (1627), he went to Weingarten in Germany; where he began a long collaboration wit

Bassano, Jacopo (Jacopo dal Ponte)
Bassano del Grappa, Veneto (Italy), 1510/15 - Bassano del Grappa, Veneto (Italy), 1592
Bassano, Jacopo (Jacopo dal Ponte)
Bassano del Grappa, Veneto (Italy), 1510/15 - Bassano del Grappa, Veneto (Italy), 1592

A painter's son, Jacopo was the head of a large family of artists who went down in history as "the Bassani" after their place of birth and close relationship, the active collaboration between father and sons -Francesco, Gerolamo, Leandro and Gian Battista- the great studio they established and ran, the vulgarisation of Jacopo's models and their very broad dissemination throughout Europe until well

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

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

Ansaldo, Giovanni Andrea
Voltri, Genoa, 1584 - Genoa, 1638
Ansaldo, Giovanni Andrea
Voltri, Genoa, 1584 - Genoa, 1638

He was first trained by Orazio Cambiaso (active between 1583 and 1600), son of Luca Cambiaso (1527-1585). He spent most of his career in Genoa, where he was a successful painter of large-scale fresco decorations, often featuring elaborate settings of feigned architecture. Ansaldo combined the ethos of the local Genoese school, dominated by Cambiaso's studio, with other trends from Northern Italian

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