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Cabezalero, Juan Martín
Almadén, Ciudad Real (Spain), Ca. 1634 - Madrid (Spain), 1673
Cabezalero, Juan Martín
Almadén, Ciudad Real (Spain), Ca. 1634 - Madrid (Spain), 1673

He must have been quite young when he arrived in Madrid and became a disciple of Carreño, as he is mentioned as a "master painter" living in Carreño's house in 1666. Among his very few known works are a Saint Jerome signed in 1666 (Meadows Museum, Dallas), four large canvases he made for the Venerable Third Order of Saint Francis between 1667 and 1668, and his collaboration with José Jiménez Donos

Wouwerman, Philips
Haarlem, 1619 - Haarlem, 1668
Wouwerman, Philips
Haarlem, 1619 - Haarlem, 1668

It is believed that he began his training at his father’s workshop, 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. However, it is clear that his painting does not reveal any connection to that of Hals´s. According to information provided by his student Matthias Scheits

Peeters, Clara
Antwerp (?), Ca. 1588/90 - Antwerp (?), Post. 1621
Peeters, Clara
Antwerp (?), Ca. 1588/90 - Antwerp (?), Post. 1621

Because all the information that we have on Clara Peeters comes from her paintings, we have to content ourselves with trying to piece together a limited biography. Her first picture dates from 1607. Her place of birth is not documented, but there are reasons to think that she based her career in Antwerp. A painting in a collection in Amsterdam is described in a document from 1635 as: "a sugar banq

Guercino (Giovanni Francesco Barbieri)
Cento, Ferrara (Italy), 1591 - Bologna (Italy), 1666
Guercino (Giovanni Francesco Barbieri)
Cento, Ferrara (Italy), 1591 - Bologna (Italy), 1666

Born in a town halfway between Ferrara and Bologna, Barbieri soon received the nickname "Il Guercino" owing to his squint ("quercio" in Italian means cross-eyed). He was chiefly self taught in a particularly rich artistic environment: by studying the altar paintings of Ludovico Carracci, which he was able to see in Cento or Bologna, he introduced a vehement dynamism and fluidity of execution into

Coello, Claudio
Madrid (Spain), 1642 - Madrid (Spain), 1693
Coello, Claudio
Madrid (Spain), 1642 - Madrid (Spain), 1693

One of the leading representatives of Madrid’s baroque school, he was born to a Portuguese family settled in that city. His father, a bronze worker by profession, sent him to Francisco Rizi’s studio to learn to draw. During that period, he exhaustively studied his teacher’s drawings and may even have aided him on some commissions for theater sets. Through Rizi and his friendship with painter Juan

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

Bocanegra, Pedro Atanasio
Granada (Spain), 1638 - Granada (Spain), 1689
Bocanegra, Pedro Atanasio
Granada (Spain), 1638 - Granada (Spain), 1689

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).

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