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Though born in Portugal he is considered a Spanish sculptor since he settled here in 1638. He made polychrome sculptures including a "Saint Bruno" for the Royal Academy of San Fernando in Madrid and another for the Miraflores Charterhouse, as well as a "Christ of Forgiveness" and a "Christ of Lozoya" for Segovia Cathedral. His sculptures of the "Holy Laborers" at San Isidro el Real in Madrid have
According to Von Sandrart, he trained in Gerard van Honthorst’s workshop between 1634 and 1637. Burke (1976) suggests that he may have later started out as an Italianate landscape painter in the workshop of Charles Cornelisz. de Hooch (1600/1606–1638). The first documented record is that of his 1638 admission to the Academy of Saint Luke in Rome, where he must have arrived around 1635, if not earl
Miguel de Pret was a Spanish painter of Flemish origin specialized in still lifes. His biography can be reconstructed on the basis of his death certificate, his will and the documents generated for his entry into the “Company of Archers of the Noble Garde de Corps of Our Lord the King” in November 1641, which required him to demonstrate his noble blood and Flemish origin. He was born in Antwerp to
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
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
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
Little is known about this Dutch painter who settled in Italy. The earliest extant documentary reference to Stom is the parish family book from 1630 and 1631 in the Roman church of San Nicola in Arcione, where it is recorded that he was 30 years old and lived on the strada dell’Olmo. Therefore, his date of birth can be placed around 1600. Amersfoort has been his assumed place of birth, although d
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
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
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
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
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
This Italian painter learned art from her father, the artist Orazio Gentileschi, whose influence is particularly evident in her early works. Following a period in Florence (1614-1620), se settled in Rome, where she lived between 1620 and 1627, with brief visits to Genoa and Venice. By 1630 she was living in Naples, with her own studio and continuous contact with Stanzione. There, she develop her m
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
Alonso Cano is unique among 17th-century Spanish artists as he was mainly a draftsman and designer, but was equally successful as an architect, sculptor and painter.His earliest experience with the arts probably took place in his own home, as his father designed and carved altarpieces and choir stalls. The family moved to Seville, where Alonso entered Francisco Pacheco’s studio at the age of fifte
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
In the late sixteen-sixties, this disciple of Alonso Cano became the most active artist in his native city. In 1665-1666, he made a series of canvases for the cloister of the convent of Nuestra Señora de Gracia (lost) and between 1668 and 1672 he painted numerous works, including The Conversion of Saint Paul for the altar at the Jeuite school, now the church of Los Santos Justo y Pastor (in situ).
On his arrival in Genoa in c. 1605, Benso sought the protection of Gian Carlo Doria, in whose household he found lodgings. On Doria's recommendation, Benso was apprenticed to Giovanni Battista Paggi (1554-c. 1627), whose workshop was one of the largest and most successful in Genoa at the time. Following Paggi's death (1627), he went to Weingarten in Germany; where he began a long collaboration wit