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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

Wouwerman, Philips
Haarlem, 1619 - Haarlem, 1668
Wouwerman, Philips
Haarlem, 1619 - Haarlem, 1668

It is thought that he began his training at the workshop of his father, the history painter Paulus Joostenz. Wouwerman (+1642), by whom no work has been identified to date. According to Cornelis de Bie, he received training in Frans Hals’s workshop, but his painting does not reveal any connection to Hals’s. According to information provided by his student Matthias Scheits (around 1625/30–1700), in

Utrecht, Adriaen van
Antwerp, 1599 - 1652
Utrecht, Adriaen van
Antwerp, 1599 - 1652

A Flemish painter, he was an apprentice to Herman de Ryt from 1614 and visited France, Italy and Germany. In 1625, he returned to Antwerp, where he worked as a master. His work was based on that of Snyders, of whose he became a faithful follower, particularly in the detailed and decorative conception of his still lifes. Nevertheless, although Utrecht’s work adopts the same abundant arrangement com

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

Seghers, Daniel
Antwerp, 1590 - Antwerp, 1661
Seghers, Daniel
Antwerp, 1590 - Antwerp, 1661

Son of a silk merchant, he emigrated early on with his family to the Northern Netherlands, where he converted to Calvinism. He started studying painting 1605, and upon returning to Antwerp in 1611, he entered the Guild of San Lucas after a period of apprenticeship with Jan Brueghel de Velours. In 1614, he re-embraced the Catholic faith and entered the Jesuits in Mechelen as a layman. Afterwards, h

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

Roelas, Juan de
Olivares, Sevilla (Spain), 1625
Roelas, Juan de
Olivares, Sevilla (Spain), 1625

His style suggests that he learned to paint in Italy, although there is no documentation of his presence in that country. In 1598 he worked in Valladolid, collaborating on the funeral monument to commemorate the death of Philip II. He continued working in that city until 1604, when he obtained a prebend or favor from the Count-Duke of Olivares. From then on, he was a protege of that nobleman in th

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

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

Procaccini, Giulio Cesare
Bologna, 1574 - Milan, 1625
Procaccini, Giulio Cesare
Bologna, 1574 - Milan, 1625

He descends from a family of artists who moved to Milan in 1587. The first documentary record of his work is the payment for a sculptural work in the cathedral of Milan in 1590. His first dated painting is the Pietà in Santa Maria de San Celso in Milan from 1604, around which time he worked alongside Cerano. It is particularly difficult to determine which of the two was a pioneer in achieving such

Mierevelt, Michiel Jansz. Van
Delft, 1567 - Delft, 1641
Mierevelt, Michiel Jansz. Van
Delft, 1567 - Delft, 1641

Son of the goldsmith Jan Michelsz. van Mierevelt (1528–1612), Michiel was the most prominent representative of official Dutch portrait painting during the first decades of the 17th century. He became a history painter in Utrecht at the workshop of Anthonis van Blockland (1533/34–1583) and remained there for two years until the master’s death. Afterwards, he returned to Delft where he established h

Claude (Lorrain, byname of Claude Gellée)
Chamagne, Ca. 1600 - Rome, 1682
Claude (Lorrain, byname of Claude Gellée)
Chamagne, Ca. 1600 - Rome, 1682

The artist trained in his place of birth (initially as a patissier, it seems). Around 1617 he went to Rome and shortly afterwards left for Naples, where he studied under Goffredo Wals for two years or so. He returned to the city of the Tiber and in the Roman artistic environment met the painter Agostino Tassi, from whom he learned the northern European tradition of classical lyrical landscape art

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

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

Carducho, Vicente
Florence (Italy), Ca. 1576 - Madrid (Spain), 1638
Carducho, Vicente
Florence (Italy), Ca. 1576 - Madrid (Spain), 1638

This Italian painter had a fecund and influential career at court in Madrid, especially with religious works whose initial Counter-Reformation classicism evolved towards a sometimes highly intense naturalism. He arrived at San Lorenzo de El Escorial in 1585 with his brother, Bartolomé, who was Federico Zuccaro's assistant and young Vicente's teacher. In 1599, he took part in the decorations for Qu

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

Brueghel the Younger, Jan
Antwerp (Belgium), 1601 - Antwerp (Belgium), 1678
Brueghel the Younger, Jan
Antwerp (Belgium), 1601 - Antwerp (Belgium), 1678

Jan Brueghel the Younger was an independent artist of great talent, who has been underappreciated in historiography at times. He was the eldest son of Jan ‘Velvet’ Brueghel and thus the grandson of Pieter Brueghel the Elder. He probably trained in the workshop of his father, who encouraged him to travel to Milan in 1622 and enter the service of Cardinal Federico Borromeo. From Milan, he travelled

Bray, Salomon de
Amsterdam, 1597 - Haarlem, 1664
Bray, Salomon de
Amsterdam, 1597 - Haarlem, 1664

He was a history painter, a portraitist and a landscape artist. There is no information about his childhood in Amsterdam. He had moved to Haarlem prior to 1617, as that year he was accepted into the circle of rhetoricians De Wijngaardranke (the vineyard assembly). In that city, he studied with Hendrick Goltzius (1558–1617) and Cornelis Cornelisz. van Haarlem (1562–1638). There is evidence that Chr

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