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This writer and painter worked in the domaine of Vizcaya in the late 16th and early 17th centuries.
A member of the Maçip family of painters from Valencia, he was son of painter Juan de Juanes and grandson of the dynasty's patriarch, Vicente Maçip (or Masip).
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
Bonay, Francisco or Vicente (active between 1702 and 1743) was a Spanish painter. Juan Agustín Ceán Bermúdez dedicated a few brief lines to him in his ‘Dictionary of History of the Most Illustrious Professors of the Fine Arts.’ These words were based on the reports offered by the local scholar Marcos Antonio Orellana in his ‘Valencian pictorial biography’ In them, he underlines the detailedness of
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
Though born in Portugal he is considered a Spanish sculptor since he settled here in 1638. He made polychrome sculptures including a "Saint Bruno" for the Royal Academy of San Fernando in Madrid and another for the Miraflores Charterhouse, as well as a "Christ of Forgiveness" and a "Christ of Lozoya" for Segovia Cathedral. His sculptures of the "Holy Laborers" at San Isidro el Real in Madrid have
Son and disciple of well-known flower painter Juan de Arellano, he imitated his father so well that many of his works have been attributed to him, although José is less masterful. His brushstrokes are dryer and less dissolved and his colors, more muted (Sánchez del Peral, J. R. in Enciclopedia del Museo Nacional del Prado, 2006, vol II, p. 409).
A qualified doctor, José Parada devoted his career to costumbrista painting and to his professorship in anatomy at the School of San Fernando. He was the author of numerous writings on art, foremost among them being this collection of biographies of Spanish women painters. Although he betrays the influence of the German neurologist P.J. Moebius and his ideas on the incapacity of women for genius,
A pupil of Houasse in Madrid between 1726–30, he travelled to Paris, Rome and Naples at his own expense, completing his education there. Upon his return in 1737, he became acquainted with the court milieu, worked for the Palace and, from 1744, was a member of the Preparatory Board for the foundation of the Royal Academy of Noble Arts. He married a daughter of the engraver Juan Bernabé Palomino, ne
Pieter Kempeneer, known in Spain as Pedro de Campaña, had a significant presence in Sevillian painting during his stay in that city between 1537 and his return to Brussels in 1562. That was a period of extraordinary economic, artist and social development for Seville, and Campaña had much in common with other Northern artists then active in that flourishing city. These artists provided images to t
Miguel de Pret was a Spanish painter of Flemish origin specialized in still lifes. His biography can be reconstructed on the basis of his death certificate, his will and the documents generated for his entry into the “Company of Archers of the Noble Garde de Corps of Our Lord the King” in November 1641, which required him to demonstrate his noble blood and Flemish origin. He was born in Antwerp to
A Spanish Renaissance painter closely related to Fernando Yáñez de la Almedina, active in Valencia and Murcia between 1505 and 1525. He moved to Florence, where his stay as a disciple of Leonardo da Vinci is documented in 1505. He worked mainly in Valencia, in collaboration with Fernando Yáñez de la Almedina, another Leonardesque painter, and together, they brought the Renaissance influences of th
This painter, whose biography is unknown, may have been mainly active during the first half of the 17th century in Madrid. His name is cited in relation to other Madrid painters in documents dated 1628 and 1659. Other surviving information appears to add to the vagueness surrounding this figure, as there were at least two painters by the same name working at the court; one had died in 1641 and the
He is considered the pioneer of Dutch seascape painting. As regards the painter himself, he received his training in Delft, where his mother’s family lived. According to Van Mander, his stepfather, a ceramic painter just as Vroom’s father, wanted him to follow the same career path. Consequently, Hendrick Cornelisz fled and embarked to Spain. From there, he went to Italy, where he worked for variou
A series of Valencian flower paintings signed and dated by Santiago Alabert suggest that he was one of the many flower painters working in Valencia in the late 18th and early 19th century when the development of the silk industry was driving that genre. His works are characterized by a grace and lightness produced by delicate brushstrokes bearing very little paint. Two of his flower paintings ente
After studying at the San Fernando Royal Academy of Fine Arts, in 1783, he unsuccessfully competed for the Studio of Flowers and Ornaments prize at the San Carlos Academy of Fine Arts. Afterwards, in 1784, he enrolled at the School of Flowers, founded by Benet Espinós, where he won first prize in 1785. He later returned to Madrid, where in 1796, he offered a pair of paintings of flower vases as a
What little is known of this artist appears in documents that permanently locate him in Madrid. These documents list his marriage in 1636, the birth of his daughters, his work appraising paintings, and his death in 1653. His signature is also known from its presence on his surviving works. His careful, detailed work is linked to the tradition of Juan van der Hamen and Antonio Ponce and he may have
Very little is known about this painter who worked mainly as a portraitist. His first known mention dates from 1597 and links him to Madrid and to Juan Pantoja de la Cruz, with whom he had special contact. In 1609, after a period in Valladolid while the Court was there (1601-1606) he succeeded Pantoja, who had died the previous year, as Philip III's chamber painter in Madrid. Documents show that,