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Cárdenas Maldonado, Gabriel de
Cuéllar, Segovia (Spain), Doc. 1588 - Doc. 1604
Cárdenas Maldonado, Gabriel de
Cuéllar, Segovia (Spain), Doc. 1588 - Doc. 1604

This Spanish painter belonged to a family of local painters, including his father, Julián Maldonado, with whom he must have studied. He was married to María de la Cruz but there is no record of offspring. His work reflects the characteristics of painting from the School of Valladolid, which influenced the area of Segovia during that period. There is no evidence that he worked outside the diocese o

Veronese, Paolo (Paolo Cagliari)
Verona, 1528 - Venice, 1588
Veronese, Paolo (Paolo Cagliari)
Verona, 1528 - Venice, 1588

Veronese was trained in his native Verona by a local painter, Antonio Badile (1518-1560), and then by Giovanni Caroto (1488-1563/66). The influence of both these masters appears in his earliest independent works, which were executed around 1546 for local patrons and institutions. He received his first commissions outside Verona in the early 1550s, when he worked for a number of wealthy Venetian fa

Romano, Giulio (Giovanni Francesco Penni)
Rome (Italy), H. 1499 - Mantua (Italy), 01.11.1546
Romano, Giulio (Giovanni Francesco Penni)
Rome (Italy), H. 1499 - Mantua (Italy), 01.11.1546

Giulio Romano (Giulio Pippi) worked with Raphael (1483-1520), first as a pupil and then as an assistant, and was involved in the decoration both of the Vatican Stanze, in particular that of the Stanze dell'Incendio (completed by 1517) and the Logge (completed 1519). Following Raphael's death in 1520, Giulio collaborated with Giovanni Francesco Penni (c. 1496-after 1528) on the decoration of the Sa

Perino del Vaga
Florence, 1501 - Rome, 1547
Perino del Vaga
Florence, 1501 - Rome, 1547

Pietro Buonaccorsi, called Perino del Vaga was, from age eleven, a pupil of Ridolfo Ghirlandaio (1483-1561); and later he was taken as a youth to Rome by an elusive painter, "il Vaga," whence the former's nomenclature. Here, he attracted the, attention of Raphael (1483-1520) and was employed as an assistant to Giovanni da Udine (1487-1564) on the decoration of the Vatican Logge (completed 1519). H

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

Maganza, Alessandro
Vicenza, 1556 - Vicenza, Después de 1630
Maganza, Alessandro
Vicenza, 1556 - Vicenza, Después de 1630

Alessandro Maganza, was the best-known member of a family of painters from Vicenza, in whose workshop he trained before moving to that of Giovanni Antonio Fasolo (1530-1572). Thereafter he was in Venice (c. 1572-1576), and his subsequent work shows the various influences of the leading artists of that city: Tintoretto (1519-1594), Veronese (1528-1588), and Palma Il Giovane (c. 1548-1628) as well a

Farinati, Paolo
Verona, Veneto, 1524 - Verona, Veneto, 1606
Farinati, Paolo
Verona, Veneto, 1524 - Verona, Veneto, 1606

His earliest documented painting, St. Martin and the Beggar (1552), was commissioned by Cardinal Ercole Gonzaga for Mantua cathedral, which had recently been reconstructed by Giulio Romano (c. 1499-1546). In this, Farinati adopted a Mannerist style and restricted palette absorbed from works by Francesco Torbido (1482/85-1561/62), and by Nicola Giolfino (1476-1555) in whose workshop he probably tra

Brusasorci, Domenico
Verona, 1516 - Verona, 1567
Brusasorci, Domenico
Verona, 1516 - Verona, 1567

Brusasorci probably began training in the workshop of his father, Agostino Brusasorci (1482-1555), before subsequently studying under Gian Francesco Caroto (c. 1480-c. 1555). Some time after 1543 he frescoed the choir vault of S. Stefano, in his native city, in which he showed awareness of the frescoes decorating Verona cathedral, which had been designed by Giulio Romano (c. 1499-1546) and execute

Bandinelli, Baccio
Florence, 1493 - Florence, 1560
Bandinelli, Baccio
Florence, 1493 - Florence, 1560

Bandinelli was, after Michelangelo (1474-1564), the leading Florentine sculptor of the period. He was the son of the prominent Florentine goldsmith Michelangelo di Viviano (1459-1528), by whom he was first trained, and was subsequently apprenticed to a number of sculptors, including Gianfrancesco Rustici (1474-1554). Bandinelli was unswervingly loyal to the ruling Medici house, which resulted in a

Ansaldo, Giovanni Andrea
Voltri, Genoa, 1584 - Genoa, 1638
Ansaldo, Giovanni Andrea
Voltri, Genoa, 1584 - Genoa, 1638

He was first trained by Orazio Cambiaso (active between 1583 and 1600), son of Luca Cambiaso (1527-1585). He spent most of his career in Genoa, where he was a successful painter of large-scale fresco decorations, often featuring elaborate settings of feigned architecture. Ansaldo combined the ethos of the local Genoese school, dominated by Cambiaso's studio, with other trends from Northern Italian

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