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Bartoli, Pietro Santi
Perugia (Italy), 1635 - Rome (Italy), 7.11.1700
Bartoli, Pietro Santi
Perugia (Italy), 1635 - Rome (Italy), 7.11.1700

Italian engraver, draughtsman and painter.

Agüero, Benito Manuel de
Madrid (Spain), Ca. 1626 - Madrid (Spain), Ca. 1668
Agüero, Benito Manuel de
Madrid (Spain), Ca. 1626 - Madrid (Spain), Ca. 1668

A disciple of Alonso Cano and close to Juan Bautista Martínez del Mazo, this highly prolific artist specialized in landscapes with small mythological scenes that reflect the stylistic influence of French painter Claude Lorraine and Neapolitan painter Salvator Rosa. He was most actively involved in the decoration of the Buen Retiro and Aranjuez palaces, and the 1700 inventory of the latter lists th

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

Meléndez, Miguel Jacinto
Oviedo (Sapin), 1679 - Madrid (Spain), 1734
Meléndez, Miguel Jacinto
Oviedo (Sapin), 1679 - Madrid (Spain), 1734

Miguel Jacinto was the founder of a family of artists, members of which include his younger brother, Francisco Antonio, a miniaturist, and the latter’s son Luis, the most important still-life painter of the 18th century. Miguel Jacinto moved to Madrid at the end of the century, where he apparently studied with Francisco Antonio in the workshop of José García Hidalgo, a former pupil of Juan Carreño

Joli, Antonio
Modena (Italy), 1700 - Naples (Italy), 1777
Joli, Antonio
Modena (Italy), 1700 - Naples (Italy), 1777

According to historian Girolamo Tiraboschi, Antonio Joli was a disciple of perspective painter Raffaelo Menia Rinaldi in Modena and later, in Rome, of Giovanni Paolo Panini, a painter of idealized landscapes with classical ruins whose influence on Joli's style was decisive. In 1732, Joli began his career painting theater sets in Venice, one of the most important centers for Italian opera at that t

Carreño de Miranda, Juan
Avilés, Asturias (Spain), 1614 - Madrid (Spain), 1685
Carreño de Miranda, Juan
Avilés, Asturias (Spain), 1614 - Madrid (Spain), 1685

Born into a noble family of the Principality of Asturias, Carreño de Miranda received his early training in Madrid at the workshop of Pedro de las Cuevas, where he may have coincided with Antonio de Pereda, Francisco Camilo and Antonio Arias. He went on to study with Bartolomé Román and, after his formative period, began to paint religious themes as an independent master around the 1650s. He was s

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

Arredondo, Isidoro
Colmenar de Oreja, Madrid (Spain), 1657 - Madrid (Spain), 1702
Arredondo, Isidoro
Colmenar de Oreja, Madrid (Spain), 1657 - Madrid (Spain), 1702

After initial training with José García Hidalgo, he entered the studio of Francisco Rizi and became his most talented disciple. A close family relationship with Rizi—he married one of his teacher's goddaughters—allowed him to obtain the title of king's painter on July 16, 1685, though this was an unsalaried position. Rizi died a month later and Arredondo immediately requested the post of assistant

Antolínez y Sarabia, Francisco
Sevilla (Spain), 1644 - Madrid (Spain), 1700
Antolínez y Sarabia, Francisco
Sevilla (Spain), 1644 - Madrid (Spain), 1700

Palomino, who had personal contact with this brother of the well-known painter, José Antolínez, described him as "fastidious and extravagant." Francisco's professional activity as a lawyer did not hinder his curiosity about innumerable subjects, including everything related to intellectual erudition. These interests led him to painting, at which he was successful with small works that generally de

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