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Berdusán y Osorio, Vicente
Ejea de los Caballeros, Zaragoza (Spain), 1632 - Tudela, Navarra (Spain), 1697
Berdusán y Osorio, Vicente
Ejea de los Caballeros, Zaragoza (Spain), 1632 - Tudela, Navarra (Spain), 1697

Orphaned at the age of eight, he moved to Tudela, where he studied with his uncle, Fernando de Mozos, between 1645 and 1648. He spent the following four years at court, in Juan Carreño de Miranda's workshop. This brought him into contact with the Royal Collections and with other painters working in Madrid, including Francisco ¬Rizi, Claudio Coello, Francisco de Herrera and Mateo Cerezo. In 1653, h

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

Solimena, Francesco
Canale di Serino, Campania (Italy), 1657 - Barra, Naples (Italy), 1747
Solimena, Francesco
Canale di Serino, Campania (Italy), 1657 - Barra, Naples (Italy), 1747

Solimena was a painter and architect who had begun his studies in the humanities, but his career was subsequently shaped by the profession of his father, the painter Angelo Solimena. He started working as his father’s assistant; however, the most important influence on his early training were the paintings of Luca Giordano (with whom he was friends), Pietro da Cortona, Lanfranco, and Mattia Preti,

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

Ranc, Jean
Montpellier (France), 1674 - Madrid (Spain), 1735
Ranc, Jean
Montpellier (France), 1674 - Madrid (Spain), 1735

After studying with his father, painter Antoine Ranc, he moved to Paris in 1697 to complete his training with Hyacinthe Rigaud, and then continued as Rigaud's collaborator. He entered the Royal Academy of Painting and Sculpture in 1703 and became an academician in portraiture there in 1707. His master's protection paved the way to a career at court and the possibility of painting various members o

Bramer, Leonaert
Delft, 1596 - Delft, 1674
Bramer, Leonaert
Delft, 1596 - Delft, 1674

The son of Hendrick Bramer and Christynge Jans, nothing is known about his training. The first documented biographical fact is the journey he started through France and Italy in 1614. He resided in Arras and Amiens in 1614 and in Aix-en-Provence in 1616 on his way to Rome, where he lived between 1619 and 1627 (although not continuously). Cornelis de Bie states that he spent time in Venice, Florenc

Boel, Peeter
Antwerp, 1622 - Antwerp, 1674
Boel, Peeter
Antwerp, 1622 - Antwerp, 1674

He was a Flemish painter, draughtsman and engraver. He was the son of the engraver, publisher and art dealer Jan Boel and he received training from the painter Jan Fyt and presumably from Frans Snyders. In the early years of his career, he travelled to Italy. During his stay in Genoa, he met the painter and art dealer Cornelis de Wael. However, there is no evidence of paintings from this period. A

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

Arco, Alonso del
Madrid (Spain), Ca. 1635 - Madrid (Spain), 1704
Arco, Alonso del
Madrid (Spain), Ca. 1635 - Madrid (Spain), 1704

Little is known about this artist's calling and training before he became Antonio de Pereda's disciple and main collaborator. Deaf and mute from birth, he was known as "Pereda's deaf mute." In 1679 and 1680, he worked alongside Claudio Coello, José Jiménez Donoso, Francisco Ignacio Ruiz de la Iglesia and Matías de Torres, among others, to prepare the celebration of the arrival of Charles II's firs

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