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Fernández, Luis
Madrid, 1594 - Madrid (Spain), Post. 1657
Fernández, Luis
Madrid, 1594 - Madrid (Spain), Post. 1657

There is very little mention of this Spanish painter whom Palomino considered a native of Madrid and disciple of Eugenio Cajés. His painting was very dependent on his teacher's approach, with a loose and richly colored technique. The side altarpiece at the church in Cebreros (Avila) was signed by him in 1624 but it is of much lesser quality than other known works by his hand, which suggests the ex

Willaerts, Adam
London, 1577 - Utrecht, 1664
Willaerts, Adam
London, 1577 - Utrecht, 1664

He arrived in Holland around 1602 and was accepted as a citizen of Utrecht in 1608. His first surviving painting dates from that year, A Fleet from the Dutch East India Company heading East arriving on an Island off the West Coast of Africa. In 1611, he was a founding member of the Utrecht Guild of Saint Luke, where he repeatedly held the position of dean (1620–1622, 1624–1631 and 1636–1637). Desp

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

Serodine, Giovanni
Rome (?), 1600 - Rome, 1630
Serodine, Giovanni
Rome (?), 1600 - Rome, 1630

Serodine's family originated from Ascona, near lake Maggiore, and moved to Rome, where his father is documented in 1595 and where the artist was probably born around 1600. He produced his early works in conjunction with his brother Giovanni Battista, an expert stucco artist, an activity in which both were engaged. Indeed, documents prove that the initial commissions Giovanni Serodine received were

Rembrandt (Rembrandt Harmensz. van Rijn)
Leiden (Netherlands), 1606 - Amsterdam (Netherlands), 1669
Rembrandt (Rembrandt Harmensz. van Rijn)
Leiden (Netherlands), 1606 - Amsterdam (Netherlands), 1669

He was the ninth child of a wealthy family from Leiden. His father, Harmen Gerritsz. van Rijn, came from a family of millers who had settled in the city and who adopted the nickname Van Rijn because the mill was located on the banks of the Rhine. His mother, Harmen Neeltgen van Zuytbroeck, was the daughter of a prosperous baker from the same city. In 1620 after he studied for seven years at a Lati

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

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

Fernández, Gregorio
Sarriá, Lugo (Spain), 1576 - Valladolid (Spain), 1636
Fernández, Gregorio
Sarriá, Lugo (Spain), 1576 - Valladolid (Spain), 1636

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

Anguissola, Sofonisba
Cremona (Italy), Ca. 1535 - Palermo (Italy), 1625
Anguissola, Sofonisba
Cremona (Italy), Ca. 1535 - Palermo (Italy), 1625

Born to a noble family from Cremona, she learned painting alongside her five sisters. Her first studies, from around 1545, were with Bernardino Campi. Then, beginning in 1549, she continued with Bernardino Gatti. After visiting her family, Vasari remarked on Sofonisba’s preparation in both painting and drawing. She was particularly skilled at portraiture, with an informal style that often showed h

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