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Murillo, Bartolomé Esteban
Sevilla, 1617 - Sevilla, 1682
Murillo, Bartolomé Esteban
Sevilla, 1617 - Sevilla, 1682

Murillo was apparently a calm and sweet natured man, a fact which might explain some aspects of his personal artistic expression. Born into a family of many siblings, he was orphaned as a child and taken in by one of his sisters. He must have trained with Juan del Castillo, to judge by the characteristics of his early style. In 1645 he married Beatriz Cabrera, who bore him several children. Throug

Novelli, Pietro
Monreale, Sicily (Italy), 1603 - Palermo, Sicily (Italy), 1647
Novelli, Pietro
Monreale, Sicily (Italy), 1603 - Palermo, Sicily (Italy), 1647

Monrealese trained first with his father, Pietro Antonio Novell (1568-1625), and subsequently, in 1618, with Vito Carrera (1555-1623) in Palermo. His earliest dated work, painted in 1626, depicts St. Anthony Abbot (Palermo, S. Antonio Abate), and this, along with many other works throughout Monrealese's career, shows the influence of Anthony van Dyck (1599-1641), who had visited Sicily two years e

Arias, Ignacio
Madrid, Ca. 1618 - Madrid, 1653
Arias, Ignacio
Madrid, Ca. 1618 - Madrid, 1653

What little is known of this artist appears in documents that permanently locate him in Madrid. These documents list his marriage in 1636, the birth of his daughters, his work appraising paintings, and his death in 1653. His signature is also known from its presence on his surviving works. His careful, detailed work is linked to the tradition of Juan van der Hamen and Antonio Ponce and he may have

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

Velázquez, Diego Rodríguez de Silva y
Sevilla (Spain), 1599 - Madrid (Spain), 1660
Velázquez, Diego Rodríguez de Silva y
Sevilla (Spain), 1599 - Madrid (Spain), 1660

Born in Seville, Velázquez adopted his mothers surname, as was common in Andalusia, signing “Diego Velázquez” or “Diego de Silva Velázquez". He studied painting and worked professionally in his native city until he was twenty-four, then moved with his family to Madrid. There, he entered the king’s service, remaining until his death in 1660. Much of his work was painted for the royal collection and

Stalbent, Adriaen van
Antwerp, 1580 - Antwerp, 1662
Stalbent, Adriaen van
Antwerp, 1580 - Antwerp, 1662

This Flemish painter specialised in cabinet painting in a wide range of themes, from landscape to depictions of art galleries. Born into a Protestant family, he emigrated to Middelburg in his youth. Later, he returned to Antwerp where he became the master of the Guild of Saint Luke in 1609–1610. Additionally, he actively participated in the intellectual life of the city through his membership of t

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

Ribalta, Francisco
Solsona, Lérida (Spain), 1565 - Valencia (Spain), 1628
Ribalta, Francisco
Solsona, Lérida (Spain), 1565 - Valencia (Spain), 1628

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

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

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

Lilio, Andrea
Ancona, Le Marche, Ca. 1570 - Ascoli Piceno, Le Marche, 1635
Lilio, Andrea
Ancona, Le Marche, Ca. 1570 - Ascoli Piceno, Le Marche, 1635

The sources on Lilio's early life are sparse and sometimes contradictory. As a youth he was already active in Rome, since he is recorded in 1583 as beginning work on the four Evangelists beneath the cupola in the Gesu. His early training seems to have been with Cesare Nebbia (c. 1536-1614) and Giovanni Guerra (1544-1618), though he soon after gravitated to the circle of Barocci's followers then wo

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

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

Guerra, Giovanni
Modena, 1544 - Rome, 1618
Guerra, Giovanni
Modena, 1544 - Rome, 1618

Guerra arrived in Rome in 1562, where he became a member of the Accademia di S. Luca. He established a workshop with Cesare Nebbia (c. 1536-1614) and together they secured numerous papal commissions. These included the decoration of the Salone Sisto in the Vatican Library (1585-1589) and that of the Scala Santa at Porta S. Giovanni. Guerra and Nebbia collaborated in prepSring the designs for these

Guercino (Giovanni Francesco Barbieri)
Cento, Ferrara (Italy), 1591 - Bologna (Italy), 1666
Guercino (Giovanni Francesco Barbieri)
Cento, Ferrara (Italy), 1591 - Bologna (Italy), 1666

Born in a town halfway between Ferrara and Bologna, Barbieri soon received the nickname "Il Guercino" owing to his squint ("quercio" in Italian means cross-eyed). He was chiefly self taught in a particularly rich artistic environment: by studying the altar paintings of Ludovico Carracci, which he was able to see in Cento or Bologna, he introduced a vehement dynamism and fluidity of execution into

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,

Cajés, Eugenio
Madrid, 1574 - Madrid (Spain), 1634
Cajés, Eugenio
Madrid, 1574 - Madrid (Spain), 1634

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

Brueghel the Elder, Jan (Jan 'Velvet' Brueghel)
Brussels (Belgium), 1568 - Antwerp (Belgium), 1625
Brueghel the Elder, Jan (Jan 'Velvet' Brueghel)
Brussels (Belgium), 1568 - Antwerp (Belgium), 1625

Born to a family of extraordinary artists, he was the son of Pieter Brueghel the Elder and grandson of Pieter Coecke and Mayken Verhulst Bessermers. Tradition has it that she was his first teacher, as his father died when he was a child. According to writer Karel van Mander his principal teacher was Pieter Goetkind. While he was somewhat influenced by the work of his brilliant father, he always fo

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