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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

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

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

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

Arco, Alonso del
Madrid (Spain), Ca. 1635 - Madrid (Spain), 1704
Arco, Alonso del
Madrid (Spain), Ca. 1635 - Madrid (Spain), 1704

Little is known about this artist's calling and training before he became Antonio de Pereda's disciple and main collaborator. Deaf and mute from birth, he was known as "Pereda's deaf mute." In 1679 and 1680, he worked alongside Claudio Coello, José Jiménez Donoso, Francisco Ignacio Ruiz de la Iglesia and Matías de Torres, among others, to prepare the celebration of the arrival of Charles II's firs

Antolínez, José
Madrid (Spain), 1635 - Madrid (Spain), 1675
Antolínez, José
Madrid (Spain), 1635 - Madrid (Spain), 1675

A disciple and collaborator of Francisco Rizi, Antolínez is one of the most interesting Madrid painters of the second half of the 17th century. Despite his low social origins -he was a carpenter's son- and arrogant and quarrelsome nature, he secured great prestige and an excellent clientele at the Spanish court. He was particularly well known for his felicitous versions of the Immaculate Conceptio

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,

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