Loading...
De' Vecchi is almost certainly the same Giovanni dal Borgo who is known to have worked at the Villa d'Este at Tivoli in 1568. It is possible that he had been a student under Raffaello dal Colle (c. 1490-1566) in Rome; it is equally plausible that during the early 1560s he may have worked with Santi di Tito (1536-1602) at the Palazzo Belvedere. However, his earliest documented presence in that city
He was the son of Evert Steenwijck, Brillenmaecker (spectacle maker) of Delft, and the younger brother of the still life painter Herman Steenwijck (1602/22–1656/76). Documents reveal that his training took place in the workshop of his uncle David Bailly (1584–1657), an esteemed portrait and still life painter from Leiden. Upon completing his apprenticeship, he returned to Delft, where he joined th
The earliest Spanish painter with extant still lifes, most of which were painted before 1603. Baptized in his hometown’s parish church on June 25, 1560, he lived and worked in Toledo. He may have been a disciple of Blas de Prado, who was the first documented Spanish still-life painter, although none of his works in that genre have been identified. Part of Sánchez Cotán’s family lived in Orgaz (Tol
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
Early death put an end to the career of this artist hired by Philip II to depict on canvas the Counterreformation's proposals for devotional images—a subject that greatly concerned the monarch during the decoration of the monastery at El Escorial. Friar José de Sigüenza, the Hieronymite Order's historian, had already noted Philip II's melancholy after Navarrete's death, as well as the posterior em
Despite his early death, considerable documentation of his life still exists today. We know he was born to a Flemish family and, like his father, he was a member of the Guardia de Arqueros, a corps dedicated to the protection of the king of Spain whose members were all from the Netherlands. In 1615, he married Eugenia Herrera, whose family was known for its sculptors and painters. By then, he was
The most important early-17th-century Flemish painter after Rubens, Van Dyck was considered Rubens’ equal by the 18th century. Born in Antwerp, the Spanish Netherlands’ main mercantile and cultural center, he was a disciple of Hendrik van Balen. By 1615-1616, he was already an independent artist and by 1618 he was a master painter at the Guild of Saint Luke. During those early years of his career,
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
His father, Domenico Camilo, was a Florentine painter who participated in the decoration of the monastery at El Escorial. Following Domenico's death, his widow married Pedro de las Cuevas, a painter from Madrid who then taught young Francisco the art of painting. In court circles, he made paintings of the kings of Spain to decorate the Hall of Comedies at the Alcázar in Madrid, and beginning in 16
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 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
A Flemish painter, he was active at least starting in 1593, when documentary evidence confirms his participation in the decoration of the Garnier family monument in the Church of Our Blessed Lady of the Sablon in Brussels. There is neither information about the exact period in which he began to work as an independent painter nor about the apprentices who trained in his workshop during his early ye
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