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Vidal, Pedro Antonio
Castellón (Spain), Ca. 1570 -
Vidal, Pedro Antonio
Castellón (Spain), Ca. 1570 -

In 1616 he unsuccessfully requested the post of king's painter. The following year, he worked in Madrid's Alcázar palace, where he received payment for a portrait of Philip III -presumably the one now at the Museo del Prado, in which the monarch wears armor. In 1617 he also worked for the convent of San Blas in Lerma (Burgos). The portrait of Philip III wearing armor reveals his debt to the tradit

Tristán, Luis
Toledo?, 1580/85 - Toledo (Spain), 1624
Tristán, Luis
Toledo?, 1580/85 - Toledo (Spain), 1624

One of the most outstanding representatives of painting from Toledo during the early 17th-century, an especially fertile period for that city. The earliest mention of Tristán links him to Toledo's most important painter, calling him an apprentice to El Greco in 1603. He was still there in 1606, but that was the year that he made his first trip to Italy. According to Jusepe Martínez, he was accompa

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

Ribera, Jusepe de, lo Spagnoletto
Játiva, Valencia (Spain), 1591 - Naples (Italy), 1652
Ribera, Jusepe de, lo Spagnoletto
Játiva, Valencia (Spain), 1591 - Naples (Italy), 1652

Chronologically, José de Ribera is the first of the great Spanish masters to emerge in the middle decades of the 17th century. His earliest training as an artist is still the object of conjecture, but there is documentation of his presence in Parma in 1611, when he was twenty years old. Four years later, he was in Rome as part of a colony of foreign painters. His life may have been quite bohemian

Navarrete ''el Mudo'', Juan Fernández
Logroño, Ca. 1538 - Toledo, 1579
Navarrete ''el Mudo'', Juan Fernández
Logroño, Ca. 1538 - Toledo, 1579

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

La Tour, Georges de
Vic-sur-Seille, 1593 - Luneville, 30/01/1652
La Tour, Georges de
Vic-sur-Seille, 1593 - Luneville, 30/01/1652

The artist was born in a small town in the Duchy of Lorraine, an independent territory in the Germanic Holy Roman Empire, a century and a half before it became part of France. A baker's son, he is documented for the first time in 1616. In 1617 he married the daughter of Jean Le Nerf, silversmith to the reigning duke. One of his sons was Etienne de La Tour, also a painter, who assisted him in the f

Dyck, Anthony van
Antwerp (Belgium), 1599 - London, 1641
Dyck, Anthony van
Antwerp (Belgium), 1599 - London, 1641

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,

Cesi, Bartolomeo
Bologna, 1556 - Bologna, 1629
Cesi, Bartolomeo
Bologna, 1556 - Bologna, 1629

Cesi was born into a wealthy family and received a humanist education before he studied painting. Little is known of his training, which was probably under Giovanni Francesco Bezzi (c. 1500-1571), and the first commission that is securely attributable to him were the frescoes depicting the Life of the Virgin (1574) in the Vezzi Chapel in S. Stefano, Bologna. Around the same time he also assisted P

Castillo Saavedra, Antonio del
Córdoba (Spain), 1616 - Córdoba (Spain), 1668
Castillo Saavedra, Antonio del
Córdoba (Spain), 1616 - Córdoba (Spain), 1668

He was the son of Agustín del Castillo, a painter born in Llerena, Extremadura, whose work is practically unknown but whom Palomino called an “excellent painter.” Orphaned in 1626, Antonio studied with an unknown painter named Ignacio Aedo Calderón. He may later have travelled to Seville, although we have no proof, where Palomino suggests he was a pupil of Zurbarán. This idea is corroborated by th

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

Bramer, Leonaert
Delft, 1596 - Delft, 1674
Bramer, Leonaert
Delft, 1596 - Delft, 1674

The son of Hendrick Bramer and Christynge Jans, nothing is known about his training. The first documented biographical fact is the journey he started through France and Italy in 1614. He resided in Arras and Amiens in 1614 and in Aix-en-Provence in 1616 on his way to Rome, where he lived between 1619 and 1627 (although not continuously). Cornelis de Bie states that he spent time in Venice, Florenc

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