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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
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
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
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
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
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
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
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
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 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
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
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
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 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
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
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,
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
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