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Steenwijck, Pieter van
Delft, H. 1615 - Después de 1656
Steenwijck, Pieter van
Delft, H. 1615 - Después de 1656

He was the son of Evert Steenwijck, Brillenmaecker (spectacle maker) of Delft, and the younger brother of the still life painter Herman Steenwijck (1602/22–1656/76). Documents reveal that his training took place in the workshop of his uncle David Bailly (1584–1657), an esteemed portrait and still life painter from Leiden. Upon completing his apprenticeship, he returned to Delft, where he joined th

Camprobín, Pedro de
Almagro, Ciudad Real, 1605 - Sevilla, 1674
Camprobín, Pedro de
Almagro, Ciudad Real, 1605 - Sevilla, 1674

He is known to have signed an apprenticeship contract with well-known painter Luis Tristán in Toledo when he was fourteen years old (1619). That explains his strong tenebrist approach, which decidedly contrasts with what could be presumed to have been his education as a child, given that his mother, Juana Passano, was related to the wives of the Peroli brothers, Juan Bautista and Esteban, Genoese

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

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

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

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

Ribera, Jusepe de, lo Spagnoletto
Játiva, Valencia (Spain), 1591 - Naples (Italy), 1652
Ribera, Jusepe de, lo Spagnoletto
Játiva, Valencia (Spain), 1591 - Naples (Italy), 1652

Chronologically, José de Ribera is the first of the great Spanish masters to emerge in the middle decades of the 17th century. His earliest training as an artist is still the object of conjecture, but there is documentation of his presence in Parma in 1611, when he was twenty years old. Four years later, he was in Rome as part of a colony of foreign painters. His life may have been quite bohemian

Pacheco, Francisco
Sanlúcar de Barrameda (Spain), 1564 - Sevilla (Spain), 1644
Pacheco, Francisco
Sanlúcar de Barrameda (Spain), 1564 - Sevilla (Spain), 1644

While this Spanish painter and theorist's painting was never outstanding, his theories reveal the richness of that medium and the singularity of the personnages he had the opportunity to meet, reflecting the interests of his entire period's reflections on art. Pacheco studied with the otherwise unknown teacher Luis Fernández between 1580 and 1585, following mannerist trends from Italy and Flanders

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

Metsu, Gabriël
Leiden, 1629 - Amsterdam, 1667
Metsu, Gabriël
Leiden, 1629 - Amsterdam, 1667

He was the son of Jacques Metsu (1587/89–1629), a Flemish painter based in Leiden. In 1648, he played an active role in founding the Guild of Saint Luke in his native city. The records held at the guild’s register reveal that he left Leiden in 1650. He returned in 1654, and in 1657, he moved permanently to Amsterdam, where he remained until his death. In 1658, he married Isabella de Wolff, who was

Luyckx, Carstian
Amberes, 1623 - Post. 1653
Luyckx, Carstian
Amberes, 1623 - Post. 1653

Luyckx was a Flemish painter who specialised in still life paintings in all their forms: vases, vanitas, banquets, festoons of flowers, fruit bowls, garlands. At the same time, he also produced several history paintings. From 1639 to March 1642, he received training from Philips de Marlier and was subsequently a pupil of Frans Francken III. He attained the rank of master on 17 July 1645. In 1646,

La Tour, Georges de
Vic-sur-Seille, 1593 - Luneville, 30/01/1652
La Tour, Georges de
Vic-sur-Seille, 1593 - Luneville, 30/01/1652

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

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

Gentileschi, Artemisa
Rome, 1593 - Naples, 1652/3
Gentileschi, Artemisa
Rome, 1593 - Naples, 1652/3

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

Cano, Alonso
Granada, 1601 - Granada, 1667
Cano, Alonso
Granada, 1601 - Granada, 1667

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

Breenbergh, Bartholomeus
Deventer, 1598 - Amsterdam, 1657
Breenbergh, Bartholomeus
Deventer, 1598 - Amsterdam, 1657

The son of a pharmacist, he settled in the city of Deventer. After the death of his father around 1607, the family decided to leave the city. It was possible he began his training in Amsterdam in the workshop of one of the numerous landscape painters then active in the city and now unknown. According to his own testimony, in 1620 he moved to Rome, where he remained more than seven years. There he

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

Belvedere, Andrea
Naples, 1652 - Naples, 1732
Belvedere, Andrea
Naples, 1652 - Naples, 1732

Belvedere was the last and most appreciated representative of the Neapolitan still-life tradition, which appeared almost to die out after he passed away in 1732. He began to work in his city of birth in 1674. His style seems to have been shaped by the circle of Paolo Porpora and inspired by the early works of Giuseppe Recco, to judge by the earliest surviving paintings from this period (Naples, Mu

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