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Dubbels, Hendrick Jacobsz
Amsterdam, 1621 - Amsterdam, 1707
Dubbels, Hendrick Jacobsz
Amsterdam, 1621 - Amsterdam, 1707

Little is known about this painter, who was active in Amsterdam beginning in approximately 1641 as a painter of seascapes, harbour views, beaches and winter landscapes. His early works, grey and blue seascapes, reveal the stylistic influence of Jan Porcellis’s paintings (1583/1585–1632). Between 1650–53, he worked in the workshop of Simon de Vlieger (1600/01–1653), whose influence is perceptible i

Both, Jan
Utrecht, 1618/1622 - Utrecht, 1652
Both, Jan
Utrecht, 1618/1622 - Utrecht, 1652

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

Pret, Miguel de
Antwerp, 1595 - Zaragoza, 1644
Pret, Miguel de
Antwerp, 1595 - Zaragoza, 1644

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

Espinosa, Juan de
Doc. 1628 - Doc. 1659
Espinosa, Juan de
Doc. 1628 - Doc. 1659

This painter, whose biography is unknown, may have been mainly active during the first half of the 17th century in Madrid. His name is cited in relation to other Madrid painters in documents dated 1628 and 1659. Other surviving information appears to add to the vagueness surrounding this figure, as there were at least two painters by the same name working at the court; one had died in 1641 and the

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

Tavarone, Lazzaro
Genoa, H. 1556 - Genoa, 1641
Tavarone, Lazzaro
Genoa, H. 1556 - Genoa, 1641

A student of Luca Cambiaso (1527-85) from around the late 1560s, they both moved to Spain in 1583, when the master accepted an invitation to work for Philip II. Although Cambiaso died shortly thereafter, Tavarone remained in Spain and is subsequently documented as working with Fabrizio Castello (c. 1560-1617) and Nicolas Granello (c. 1550-1593). He returned to Genoa in 1591, here his most successf

Stom, Matthias (also called Stomer)
Amersfoort (Netherlands), H.1600 - Sicily (Italy), Después.1650
Stom, Matthias (also called Stomer)
Amersfoort (Netherlands), H.1600 - Sicily (Italy), Después.1650

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

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

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

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

Heda, Willem Claesz
Haarlem, 1594 - Haarlem, 1680
Heda, Willem Claesz
Haarlem, 1594 - Haarlem, 1680

He came from a wealthy family. Nothing is known about his artistic training. A document from 1620 already cites him as a painter in Haarlem. From 1631 onwards, he is documented in the book of the Haarlem Guild of Saint Luke, of which he was a council member on repeated occasions between 1637 and 1652; deken (dean) in 1641 and 1642 and hoofdman (captain) in 1637, 1643 and 1651. Since 1637, he admit

Fyt, Jan
Antwerp, 1611 - Antwerp, 1661
Fyt, Jan
Antwerp, 1611 - Antwerp, 1661

He began painting under the guidance of Hans van den Berch, with whom he began training around 1621. His great master, however, would be Frans Snyders. He attained the rank of master of the painters’ Guild of Saint Luke in Antwerp around 1629–1630, although he continued to work for Snyders for some time. In 1633–1634, he was in Paris, and later in Italy. He visited Naples, Florence and Genoa. Some

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,

Cerezo, Mateo
Burgos (Spain), 1637 - Madrid (Spain), 1666
Cerezo, Mateo
Burgos (Spain), 1637 - Madrid (Spain), 1666

Born to a modest painter of the same name, he appeared in Madrid around 1641, when he entered the workshop of Carreño de Miranda and became one of his most promising disciples. In fact, he probably collaborated with Carreño on some of the most ambitious commissions from around 1645. An openly sensitive artist, Cerezo must have observed and reused everything he saw around him in Madrid, and while t

Camilo, Francisco
Madrid (Spain), 1615 - Madrid (Spain), 1673
Camilo, Francisco
Madrid (Spain), 1615 - Madrid (Spain), 1673

His father, Domenico Camilo, was a Florentine painter who participated in the decoration of the monastery at El Escorial. Following Domenico's death, his widow married Pedro de las Cuevas, a painter from Madrid who then taught young Francisco the art of painting. In court circles, he made paintings of the kings of Spain to decorate the Hall of Comedies at the Alcázar in Madrid, and beginning in 16

Calvaert, Denys
Antwerp, H.1540 - Bologna, 1619
Calvaert, Denys
Antwerp, H.1540 - Bologna, 1619

Flemish painter and draftsman, he was for long active in Italy. In 1556-1557, he is recorded in Antwerp as the pupil of the landscape painter Kerstiaen van Queboom (1515-1578). He arrived in Bologna in c. 1560, where he was to remain for the remainder of his career, except for a period in Rome in 1572-1575. On his arrival in Bologna, he entered the workshop of Prospero Fontana (1512-1597), leaving

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