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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
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
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
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
Mariano Nani, arrived in Spain in 1759 as a painter/decorator for the Buen Retiro Royal Factory. Born in Naples, he was the son of Giacomo Nani, a less gifted still life artist who traveled with him to Spain. Information in different archives shows that he was an anxious nonconformist, dissatisfied with his work at Buen Retiro, which kept him from oil painting, “his main work”, as he said in 1769.
This Spanish painter from the school of Hispano-Flemish painting in Castile was active in the regions of Palencia and Burgos. Originally from Rioja, Juan de Nalda completed his training in Avignon, in the workshop of painter Jean Changenet (documented in Avignon, 1493). After returning to Castile, he must have been active in and around Burgos, as the only works attributed to him with known origins
Son of the goldsmith Jan Michelsz. van Mierevelt (1528–1612), Michiel was the most prominent representative of official Dutch portrait painting during the first decades of the 17th century. He became a history painter in Utrecht at the workshop of Anthonis van Blockland (1533/34–1583) and remained there for two years until the master’s death. Afterwards, he returned to Delft where he established h
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
This Spanish painter of Greek origin was born in the capital city of the Isle of Crete, which then belonged to the Republic of Venice. His family was Greek, but probably Catholic rather than Orthodox, and its members collaborated with the colonial powers. He was trained as an Icon painter in the late-Byzantine tradition, but contact with Italian engravings allowed him to absorb and partially emplo
The artistic tradition associated with Valladolid -which had reached such a high level in the 16th century- and the fact that it was the Spanish monarchy's favorite city between 1601 and 1606, was responsible for a considerable number of 17th-century artists who prolonged the splendor attained earlier by Alonso Berruguete, Juan de Juni and Pompeo Leoni. This indisputable reality was reinforced by
A student of the architect Bernardo Buontalenti (c. 1531-1608) and of Cigoli (1559-1613), together with the latter, he frescoed the dome of the Pauline Chapel in S. Maria Maggiore, Rome, c. 1610-1612. His first work to have been executed without assistance seems to have been a fresco depicting S. Antonio Taking Away Money from Two False Mendicants (1613) in the cloister of S. Marco, Florence. Ther
A student of the Florentine painters Alessandro Allori (1535-1607) and Santi di Tito (1536-1602), and of the architect Bernardo Buontalenti (1536-1608). During the early 1580s Cigoli painted two lunettes in the Chiostro Grande of S. Maria Novella, Florence. In the same decade he also received numerous commissions from the Medici family, such as that to design decorations to celebrate the marriage
He was a disciple of his father, Italian painter Patricio Cajés, who had moved to Madrid to work on the monastery of El Escorial. He is thought to have spent time in Rome around 1595, where he would have taken part in the birth of Caravaggio's naturalism, and he must have returned to Spain with a fondness for Tempesta's battle compositions, which Vicente Carducho's generation knew through prints a
He was the son of a lawyer at the Royal Court of Burgos but must have moved to Madrid when quite young. His second marriage—to a painter's daughter—took place there in 1645. According to Palomino, he learned the rudiments of art in Pedro de las Cuevas's workshop, but Lázaro Díaz del Valle called him a disciple of Velázquez, whose "manner" he follows, and added that he specialized in portraiture.
According to Von Sandrart, he trained in Gerard van Honthorst’s workshop between 1634 and 1637. Burke (1976) suggests that he may have later started out as an Italianate landscape painter in the workshop of Charles Cornelisz. de Hooch (1600/1606–1638). The first documented record is that of his 1638 admission to the Academy of Saint Luke in Rome, where he must have arrived around 1635, if not earl
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