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Larmessin I, Nicolas de
Paris (France), 1632 - Paris (France), 24.7.1694
Larmessin I, Nicolas de
Paris (France), 1632 - Paris (France), 24.7.1694

Engraver, elder brother of Nicolas de Larmessin II. His father was a libraire; he himself was apprenticed to Jean Mathieu in 1647. Married 1654 the daughter of the print publisher Pierre Bertrand of the Pomme d'Or in rue St Jacques. Took over his stock at his death c.1678. On his own death, the business seems to have been continued by his widow. Specialised in portraits, often in series (https://w

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

Vrancx, Sebastian
Amberes, 1573 - Amberes, 1647
Vrancx, Sebastian
Amberes, 1573 - Amberes, 1647

He was a Flemish painter specialising in battle painting. According to Van Mander, he received his training with Adam van Noort, although his early works are akin to those of Cornelis Floris and Cornelis de Vos. Around 1600–1601, he was admitted to the painters’ Guild of Saint Luke in Antwerp, and in 1607, he became part of the chamber of rhetoric known as de Violeren. His early works have no rela

Valdés Leal, Juan de
Sevilla (Spain), 1622 - Sevilla (Spain), 1690
Valdés Leal, Juan de
Sevilla (Spain), 1622 - Sevilla (Spain), 1690

This Spanish painter and engraver was an exact contemporary of Murillo as well as his greatest rival as a painter in Seville at that time. The two have often been compared on the rather artificial basis of their works' respective characters: while Murillo's were seen as the very embodiment of sweetness and tranquility; Valdés Leal's were practically the opposite: harsh and dramatic, and in his bes

Teniers the Younger, David
Antwerp, 1610 - Brussels, 1690
Teniers the Younger, David
Antwerp, 1610 - Brussels, 1690

He was born into a family of artists and his father, David Teniers "the Elder", was his first master; indeed, he is referred to by scholars as "David Teniers II". He joined the Guild of St Luke in 1633 and began to sign and date his paintings that same year. During the early stage of his career his genre paintings were inspired by Brouwer and his landscapes display the influence of Momper and Bril

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

Miel, Jan
Beveren-Waas, Antwerp, 1599 - Turin, 1664
Miel, Jan
Beveren-Waas, Antwerp, 1599 - Turin, 1664

He spent most of his career as a painter in Rome, where he appears documented before 1633. There he became involved with the Bamboccianti movement, and shortly afterwards, he joined the Schildersbent confraternity, reserved for Flemish artists living in the city. Between 1636 and 1658, he remained in Rome, where he produced small-scale genre works. In these works, he depicted the everyday life of

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

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