Paintings — Old Masters
Giuseppe Cesari was an Italian Mannerist painter, also named Il Giuseppino and called Cavaliere d'Arpino, because he was created Cavaliere di Cristo by his patron Pope Clement VIII. He was much patronized in Rome by both Clement and Sixtus V. He was the chief of the studio in which Caravaggio trained upon the younger painter's arrival in Rome.
Giuseppe Cesari was an Italian Mannerist painter, also named Il Giuseppino and called Cavaliere d'Arpino, because he was created Cavaliere di Cristo by his patron Pope Clement VIII. He was much patronized in Rome by both Clement and Sixtus V. He was the chief of the studio in which Caravaggio trained upon the younger painter's arrival in Rome.
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Bernardo Daddi, an Italian painter born in the late 13th century, emerged as a pivotal figure in the early Renaissance, particularly within the Florentine school of painting. Operating in Florence between 1280 and 1348, Daddi's oeuvre is renowned for its devout spiritual essence and the delicate finesse of its execution, marking a significant departure from the Byzantine traditions that dominated the era.
Daddi's art is distinguished by its intimate scale, refined attention to detail, and vibrant narrative compositions, which were primarily religious in nature. His works are celebrated for their clarity, color, and emotional depth, contributing to the evolution of painting during a period rich in cultural and artistic exploration. Among his notable contributions, the "Madonna and Child" triptychs and frescoes in Florence stand as testaments to his skill and spiritual devotion.
Bernardo Daddi's influence extended beyond his lifetime, setting the stage for the blossoming of Renaissance art. His paintings, housed in prestigious museums and churches, offer a window into the soul of 14th-century Italy, reflecting the period's complex interplay between faith, art, and society.
For collectors and art history aficionados, Daddi's works represent not just aesthetic achievements but also historical artifacts that capture the essence of an era on the cusp of the Renaissance. His legacy, embedded in the fabric of Italian art history, continues to inspire and captivate those who seek to unravel the origins of Renaissance painting.
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Giuseppe Cesari was an Italian Mannerist painter, also named Il Giuseppino and called Cavaliere d'Arpino, because he was created Cavaliere di Cristo by his patron Pope Clement VIII. He was much patronized in Rome by both Clement and Sixtus V. He was the chief of the studio in which Caravaggio trained upon the younger painter's arrival in Rome.
Giuseppe Cesari was an Italian Mannerist painter, also named Il Giuseppino and called Cavaliere d'Arpino, because he was created Cavaliere di Cristo by his patron Pope Clement VIII. He was much patronized in Rome by both Clement and Sixtus V. He was the chief of the studio in which Caravaggio trained upon the younger painter's arrival in Rome.
Giuseppe Cesari was an Italian Mannerist painter, also named Il Giuseppino and called Cavaliere d'Arpino, because he was created Cavaliere di Cristo by his patron Pope Clement VIII. He was much patronized in Rome by both Clement and Sixtus V. He was the chief of the studio in which Caravaggio trained upon the younger painter's arrival in Rome.
Clara Peeters was a Flemish still-life painter from Antwerp who worked in both the Spanish Netherlands and Dutch Republic.
Peeters is the best-known female Flemish artist of this era and one of the few women artists working professionally in seventeenth-century Europe, despite restrictions on women's access to artistic training and membership in guilds. Peeters specialized in still-life paintings with food and was prominent among the artists who shaped the traditions of the Netherlandish ontbijtjes, "breakfast pieces," scenes of food and simple vessels, and banketjes, "banquet pieces" with expensive cups and vessels in precious metals.
Giuseppe Cesari was an Italian Mannerist painter, also named Il Giuseppino and called Cavaliere d'Arpino, because he was created Cavaliere di Cristo by his patron Pope Clement VIII. He was much patronized in Rome by both Clement and Sixtus V. He was the chief of the studio in which Caravaggio trained upon the younger painter's arrival in Rome.
Hendrik Martenszoon Sorgh was a Dutch genre painter of the Dutch Golden Age of painting.
Hendrik Martenszoon Sorgh became a master of the Guild of St. Luke in 1636, and became its head in 1669. In his works, Sorg depicted peasant interiors, market scenes, and kitchens with their furnishings. He also painted portraits, nautical and historical scenes.
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![GIOVANNI FRANCESCO DI NICCOLÒ DI LUTERI, CALLED DOSSO DOSSI (TRAMUSCHIO [MIRANDOLA] C. 1486-1541/2 FERRARA)](/assets/image/picture_1400234/6f2cd/a0df71d400a9f2c3d53b4481a4b398051619042400jpg__fix_374_244.jpeg)
![GIOVANNI FRANCESCO DI NICCOLÒ DI LUTERI, CALLED DOSSO DOSSI (TRAMUSCHIO [MIRANDOLA] C. 1486-1541/2 FERRARA)](https://veryimportantlot.com/assets/image/picture_1400234/6f2cd/a0df71d400a9f2c3d53b4481a4b398051619042400jpg__fix_374_244.jpeg)
Giovanni di Niccolò de Luteri, better known as Dosso Dossi, was an Italian Renaissance painter who belonged to the School of Ferrara, painting in a style mainly influenced by Venetian painting, in particular Giorgione and early Titian.
From 1514 to his death he was court artist to the Este Dukes of Ferrara and of Modena, whose small court valued its reputation as an artistic centre. He often worked with his younger brother Battista Dossi, who had worked under Raphael. He painted many mythological subjects and allegories with a rather dream-like atmospheres, and often striking disharmonies in colour. His portraits also often show rather unusual poses or expressions for works originating in a court.
Sebastiano del Piombo was an Italian painter of the High Renaissance and early Mannerist periods famous as the only major artist of the period to combine the colouring of the Venetian school in which he was trained with the monumental forms of the Roman school. He belongs both to the painting school of his native city, Venice, where he made significant contributions before he left for Rome in 1511, and that of Rome, where he stayed for the rest of his life, and whose style he thoroughly adopted.
Giuseppe Cesari was an Italian Mannerist painter, also named Il Giuseppino and called Cavaliere d'Arpino, because he was created Cavaliere di Cristo by his patron Pope Clement VIII. He was much patronized in Rome by both Clement and Sixtus V. He was the chief of the studio in which Caravaggio trained upon the younger painter's arrival in Rome.
Giuseppe Cesari was an Italian Mannerist painter, also named Il Giuseppino and called Cavaliere d'Arpino, because he was created Cavaliere di Cristo by his patron Pope Clement VIII. He was much patronized in Rome by both Clement and Sixtus V. He was the chief of the studio in which Caravaggio trained upon the younger painter's arrival in Rome.
Giuseppe Cesari was an Italian Mannerist painter, also named Il Giuseppino and called Cavaliere d'Arpino, because he was created Cavaliere di Cristo by his patron Pope Clement VIII. He was much patronized in Rome by both Clement and Sixtus V. He was the chief of the studio in which Caravaggio trained upon the younger painter's arrival in Rome.
Giuseppe Cesari was an Italian Mannerist painter, also named Il Giuseppino and called Cavaliere d'Arpino, because he was created Cavaliere di Cristo by his patron Pope Clement VIII. He was much patronized in Rome by both Clement and Sixtus V. He was the chief of the studio in which Caravaggio trained upon the younger painter's arrival in Rome.
Giuseppe Cesari was an Italian Mannerist painter, also named Il Giuseppino and called Cavaliere d'Arpino, because he was created Cavaliere di Cristo by his patron Pope Clement VIII. He was much patronized in Rome by both Clement and Sixtus V. He was the chief of the studio in which Caravaggio trained upon the younger painter's arrival in Rome.
Herman Saftleven the Younger was a Dutch artist of the Golden Age who was Dean of the Guild of St. Luke in Utrecht.
Herman Saftleven the Younger was born into a creative family. His father, Hermann Saftleven the Elder (c. 1580-1627), was the father of three artist sons, Hermann the Younger, Cornelis (1607-1681), and Abraham Saftleven (c. 1611/13 - 1646).
Saftleven the Younger was an extremely productive painter, draughtsman, and printmaker. He is known for his landscapes near rivers as well as scenes of people traveling in the woods.
Giuseppe Cesari was an Italian Mannerist painter, also named Il Giuseppino and called Cavaliere d'Arpino, because he was created Cavaliere di Cristo by his patron Pope Clement VIII. He was much patronized in Rome by both Clement and Sixtus V. He was the chief of the studio in which Caravaggio trained upon the younger painter's arrival in Rome.
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Jusepe de Ribera, a Spanish painter, etcher, and draughtsman, was a notable figure in the world of art, renowned for his distinct style and contribution to Castilian tenebrism. Born in 1591 in Játiva, near Valencia, Spain, Ribera's early life and artistic origins are somewhat shrouded in mystery, with no definitive documentation on his initial training. However, it's speculated that he might have started his artistic journey in Valencia.
Ribera's career took a significant turn when he moved to Italy, where he spent the majority of his professional life, predominantly in Naples, a Spanish territory at that time. He arrived in Naples around 1616 and soon established himself as an important artist in the city. His marriage to Caterina Azzolino, daughter of Sicilian painter Giovanni Bernardino Azzolino, in November of the same year, further solidified his connections in the Italian art scene.
Ribera was deeply influenced by Caravaggio and is often described as one of Caravaggio's followers. His early works displayed a marked tenebrism, characterized by stark chiaroscuro and a robust, scratchy handling of paint. However, Ribera's style evolved over time, moving away from this intense tenebrism to incorporate more color and softer modeling in his later works.
His body of work is diverse, including altarpieces, religious subjects, mythological themes, and portraits. Ribera had a penchant for depicting scenes of martyrdom with graphic realism, as seen in works like the celebrated "Martyrdom of St Bartholomew." Yet, he was also capable of expressing great tenderness, evident in paintings such as "The Adoration of the Shepherds." His secular subjects often depicted philosophers as beggars or vagabonds, adding a unique dimension to the Baroque repertoire.
Ribera's influence extended beyond Naples to Spain and the broader European art scene. He played a foundational role in fostering a respect for individual humanity in Spanish art, a trend that continued with artists like Velázquez and Goya. His works were widely exported to Spain and had a significant impact on both Italian and Spanish art. Ribera remains a highly respected figure in art history, and his works are featured in prominent museums and galleries worldwide, showcasing his enduring legacy in the realm of art and culture.
For art collectors and experts, Ribera's works represent a crucial chapter in the development of European art, particularly in the context of the Spanish Baroque and the evolution of tenebrism. His innovative approach to subject matter and technique continues to inspire and captivate audiences, making his works highly sought after in the world of art and antiques.
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