Portrait 16th century
Cristofano Allori was an Italian painter of the late Florentine Mannerist school, painting mostly portraits and religious subjects. Allori received his first lessons in painting from his father, Alessandro Allori, but becoming dissatisfied with the hard anatomical drawing and cold coloring of the latter, he entered the studio of Gregorio Pagani. When still young he became a court portraitist for the Medicis, though many of his commissions were replicas of portraits by his predecessor Bronzino, or had participation by others.[citation needed. His pictures are distinguished by their close adherence to nature and the delicacy and technical perfection of their execution. His most famous work, in his own day and now, is Judith with the Head of Holofernes.
Alessandro Allori, full name Alessandro di Cristofano di Lorenzo del Bronzino Allori, was an Italian painter of the Florentine school of late Mannerism.
Allori was one of the major artists of Florence in the late 16th century. He painted prostrate images and portraits. His son Cristofano Allori (1577-1621) also became an artist.
Christoph Amberger was a German painter of the Renaissance. He is known primarily as a portrait painter and is considered one of the most prominent masters of this genre of his generation.
Amberger built his career in the city of Augsburg, which was then considered one of the cultural centers of Europe. He painted numerous portraits of Augsburg patricians and their wives, prominent scholars, and the Holy Roman Emperor Charles V. These works laid the foundation for the artist's success. Amberger also designed the high altar of Augsburg Cathedral.
Amico Aspertini was an Italian Renaissance painter, draughtsman, and sculptor, considered one of the leading representatives of the Bolognese school of painting.
He was trained in the family workshop and was influenced by the artists of the Ferrara school, Ercole de'Roberti, Lorenzo Costa, and Francesco Francia. He worked as a painter and sculptor, and was also an excellent draughtsman, as evidenced by his many surviving drawings and sketches. Contemporaries marveled at his complex and impulsive character and noted that he worked with both hands simultaneously.
Aspertini painted splendid portraits as well as numerous frescoes and altarpiece paintings in chapels and churches in Italy. Many of his works are eccentric and eclectic, even whimsically fantastical, his complex style anticipating Mannerism.
Hans Baldung, also known as Hans Baldung Grien, was a prominent figure in the German Renaissance, celebrated for his innovative approach to painting, printmaking, and drawing. Born around 1484 in Schwäbisch Gmünd, Germany, and passing away in 1545 in Strasbourg, France, Baldung's career was marked by a distinctive style that art historians have associated with the mannerist tendencies of the time. His work is notable for its exploration of themes such as the imminence of death, the complexities of human sexuality, and scenes of witchcraft, distinguishing him from his contemporaries with a bold and unique artistic voice.
Educated in the workshop of Albrecht Dürer, Baldung quickly developed his own artistic language, absorbing and then transcending Dürer's influence. He is particularly renowned for his altarpieces, portraits, and a series of works that delve into eroticism and the supernatural. Among his most significant contributions is the high altar of the Freiburg Münster, an eleven-panel masterpiece depicting scenes from the life of the Virgin Mary, which remains a testament to his mastery over religious subjects even as he ventured into more secular and profane themes.
Baldung's fascination with witchcraft and his portrayal of witches in art were groundbreaking for the time. His works in this area, such as "The Witches' Sabbath" and "Weather Witches," reveal a complex interplay of humanist thought, classical literature, and contemporary beliefs about witchcraft. They offer a nuanced perspective that blends satire with a deeper commentary on human nature and societal fears, marking Baldung as a pioneer in the visual exploration of these themes.
Despite his engagement with the themes of death and witchcraft, Baldung's oeuvre is also rich in portraits characterized by sharp individualization and psychological depth, as well as altarpieces that convey a profound spiritual and theological insight. His ability to navigate between the realms of the divine and the earthly, the solemn and the profane, solidifies his position as a versatile and innovative artist of the Renaissance.
For collectors and experts in art and antiques, Hans Baldung's work offers a unique window into the confluence of Renaissance artistry, humanist thought, and the socio-religious dynamics of early 16th-century Europe. His paintings and prints not only adorn museums and galleries worldwide but also continue to inspire and provoke deep reflection on the human condition.
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Pieter Balten or Pieter Custodis was a Flemish Renaissance painter, etcher, draftsman, publisher, and poet. He was a member of the Guild of St. Luke in Antwerp.
Pieter Balten is considered one of the pioneers of realistic depictions of village life, often comic. He also painted religious compositions, landscapes and painted tronies - portraits with comic and even caricatured facial images.
Simone Barabino was an Italian painter of the late-Mannerist style. Born in Val de Polcevera, near Genoa, he was mainly active in his native city, where he trained with Bernardo Castello. Notable works include San Diego restoring sight to blind child for the Nunziata del Guastato in Genoa and Dead Christ with the Virgin and Saints Michael and Andrew for the church of San Girolamo at Milan.
Federico Barocci, an Italian Renaissance painter and printmaker, was celebrated for his vibrant use of color and dynamic compositions. Born around 1533 in Urbino, Italy, a hub of Renaissance culture, Barocci's early life was steeped in the rich artistic heritage of the time. His training included an apprenticeship with his father, a sculptor, and later with notable artists such as Battista Franco Veneziano and Taddeo Zuccari.
Federico Barocci's work, known for its emotional intensity and use of light, positioned him as a critical link between the Mannerist style of the 16th century and the emerging Baroque period. His paintings often depicted religious scenes, imbued with a warmth and spirituality that resonated with viewers. His unique approach to color and composition had a significant influence on later artists, including the Baroque masters Peter Paul Rubens and Gian Lorenzo Bernini.
Despite suffering from chronic illness, possibly due to poisoning, Federico Barocci's output remained prolific and influential. His works can be found in several prestigious galleries, including the Uffizi in Florence, where his "Madonna del Popolo" and "Martyrdom of Saint Vitale" are displayed. These pieces, along with others like "The Deposition" in the Cathedral of Perugia and "Noli me Tangere" in Munich, showcase his mastery in portraying human emotion and divine radiance.
Collectors and experts in art and antiques will appreciate the depth and innovation of Federico Barocci's work. His legacy as a master colorist and draughtsman is undeniable, making his pieces a valuable addition to any collection.
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Jacopo Bassano or Jacopo da Ponte was an Italian painter of the Venetian school. He painted biblical scenes and portraits in the late Renaissance and Mannerist style, with a slight touch of Baroque. Bassano was quite realistic in his depictions of everyday objects, animals, homes and landscapes.
Nicolas Béatrizet (or Beatrizet, or Beatricetto) was a 16th century French engraver, working in Rome. Béatrizet was born at Luneville in or before 1520. From his style, it has been conjectured that he was a scholar of Ghisi and Agostino Veneziano de Musis. From 1540 to 1560, he engraved under the direction of Michelangelo. The importance of Béatrizet's works lay in the fact that his engravings were unique records of pictures by some of the greatest artists rather than their inherent quality. He usually signed his plates with the letters "N. B. L. F.". Their number is considerable, but most of them are included in the following list.
Jacques Bellange was an artist and printmaker from the Duchy of Lorraine (then independent but now part of France) whose etchings and some drawings are his only securely identified works today. They are among the most striking Northern Mannerist old master prints, mostly on Catholic religious subjects, and with a highly individual style. He worked for fourteen years in the capital, Nancy as court painter to two Dukes of Lorraine, before dying at the age of about forty, and almost all his prints were produced in the three or four years before his death. None of his paintings are known to have survived, but the prints have been known to collectors since shortly after his death, though they were out of critical favour for most of this period. In the 20th century they have been much more highly regarded, although Bellange is still not a well-known figure.
Giovanni Bellini was a renowned Italian painter, celebrated for his pivotal role in the Venetian Renaissance. Born around 1430 in Venice, Italy, Bellini's work is distinguished by its innovative use of color, keen interest in light, and meticulous brushwork, which marked a significant departure from the styles of his predecessors and contemporaries. He is acknowledged as one of the most influential figures of the Bellini family, a lineage of esteemed Venetian painters that profoundly shaped the course of Venetian art.
Bellini's oeuvre spans religious altarpieces, portraits, and mythological scenes, demonstrating a gradual evolution from the narrative-driven compositions of the Early Renaissance to a more nuanced naturalism and emotional depth. Notable works include the "San Zaccaria Altarpiece," celebrated for its serene beauty and imposing presence, and "The Feast of the Gods," a secular piece illustrating Bellini's late career shift towards more naturalistic mythologies and exploration of erotic themes in accordance with the trends of early 16th-century Renaissance art.
His early works, characterized by the use of tempera, exhibit a unique blend of the Paduan school's severity and a profound religious sentimentality, setting the stage for his later mastery of oil painting. This mastery allowed Bellini to achieve unparalleled atmospheric effects and a harmonious blend of colors, contributing significantly to the development of Venetian painting. His contributions were not limited to his own works; Bellini also played a crucial role as a teacher, influencing future generations of artists including Giorgione and Titian, thus ensuring his lasting impact on the Renaissance art movement.
Giovanni Bellini's works are preserved in several prestigious museums and galleries worldwide, serving as a testament to his enduring legacy in the art world. His ability to infuse his paintings with a sense of divine tranquility, coupled with his innovative techniques, has cemented his status as a key figure in the history of Western art.
For collectors and experts in art and antiques, Giovanni Bellini's work represents not only a pinnacle of Renaissance artistry but also a bridge between the medieval and modern worlds. His nuanced approach to color, light, and composition continues to inspire and attract admiration from across the globe.
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Gentile Bellini was a seminal Venetian painter, born circa 1429 into Venice’s preeminent family of artists. Known primarily for his portraiture and scenes depicting the Middle East, Bellini's style was marked by precise execution and keen attention to detail. His paintings, especially those from his time in Constantinople, showcased an enchanting blend of Western and Eastern artistic elements, contributing significantly to the Orientalist movement in Western art.
His works are renowned for their incorporation of architectural elements from the regions he visited, which played a pivotal role in educating Europeans about cultures beyond their borders. Bellini served as a cultural ambassador to the Ottoman Court, painting the portrait of Sultan Mehmed II, a work that remains notable for its vivid portrayal and historical significance.
Despite the destruction of many of his paintings, some of Bellini's masterpieces continue to be celebrated, such as "The Miracle of the True Cross at the Bridge of San Lorenzo" and "The Procession in Piazza San Marco," which reflect the grandeur and spirit of Venice during the Renaissance.
Bellini's legacy extends beyond his canvases, influencing the craft and direction of future artists, including his student Titian. While contemporary critics often regard his brother, Giovanni Bellini, as the more accomplished artist, Gentile's contributions to the Venetian school and his role in bridging Western and Eastern art remain undisputed.
For collectors and art experts, Gentile Bellini's work represents a confluence of cultural narratives and artistic excellence. To stay informed about exhibitions and sales featuring Gentile Bellini's work, signing up for updates can provide an exclusive edge in the art and antiques sphere.
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Ambrosius Benson was an Italian painter who became a part of the Northern Renaissance.
While many surviving paintings have been attributed, there is very little known of him from records, and he tended not to sign his work. He is believed to be responsible for mainly religious art, but also painted portraits on commission. He sometime painted from classical sources, often setting the figures in modern-dress, or a contemporary domestic setting. In his lifetime he was successful; he had a large workshop, his work was sold internationally and he was especially popular in Spain.
Joachim Beuckelaer, a masterful Flemish painter born around 1533, was renowned for his intricate market and kitchen scenes, which were abundant with detailed depictions of food and household items. His unique approach combined everyday life with religious narratives, often situating biblical episodes within the backdrop of bustling market scenes or domestic settings. This innovative blend of the mundane with the spiritual set the stage for future developments in Dutch and Flemish painting.
Beuckelaer's influence extended beyond his immediate geographic locale, impacting artists across Europe, from Italy to Spain, heralding a new appreciation for kitchen and market scenes that would flourish in seventeenth-century painting. His works were not only appreciated for their aesthetic and technical mastery but also for their ability to capture the essence of sixteenth-century Antwerp life, from the vibrancy of its markets to the intimacy of its kitchens.
His oeuvre includes a variety of subjects, from purely religious works to those that focus solely on still-life elements without any human figures, indicating his versatility and innovation as an artist. Beuckelaer was known for employing techniques that allowed him to efficiently reuse compositions, showcasing his ability to adapt and repurpose his work to meet the demands of his patrons.
Notable works by Beuckelaer, such as the "Four Elements" series, now housed in the National Gallery, London, demonstrate his skill in merging complex allegories with detailed observations from nature and daily life. These paintings are celebrated for their depth of detail and the way they foreground the role of women in the culinary and market spheres.
For collectors and experts in art and antiques, Joachim Beuckelaer's paintings offer a fascinating glimpse into the cultural and social dynamics of the sixteenth century, as well as the evolution of still-life and genre painting in the early modern period. His ability to weave together the secular and sacred, the abundant and the everyday, marks him as a significant figure in the history of art.
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Jakob Binck / Bink, a German artist, was skilled in engraving, etching, painting, and medal making. He worked for various courts in Northern Europe, including the Danish court, and resided in Antwerp. Binck's artistic style resembled that of the Little Masters group. While it is believed he may have been a pupil of Dürer, his early residence in Italy casts doubt on this assumption. Binck's known paintings are primarily portraits, known for their accurate drawing and artistic taste.
Giovanni Pietro Birago was an Italian painter, illuminator, and engraver for the Sforza court.
He worked from 1470 to 1513 in Brescia, Venice, and Milan, was a leading Milanese illustrator and was favored by the ducal court.
Abraham Bloemaert was a Dutch painter, draughtsman, and printmaker from the Golden Age of Dutch painting, one of the founders of the Guild of St. Luke in Utrecht. Bloemart was a caravagist. He painted mainly landscapes, mythological and biblical scenes, and pastoral works.
Sandro Botticelli, an Italian painter of the Early Renaissance, was renowned for his exquisite works that beautifully merged classical mythology with religious themes. Born Alessandro di Mariano di Vanni Filipepi in Florence around 1445, Botticelli became a pivotal figure in the Florentine art scene under the patronage of the Medici family. His education under Filippo Lippi honed his skills in painting, leading to a unique style that emphasized linear grace and ethereal beauty. Botticelli's art is celebrated for its elegance and for capturing the spirit of the Renaissance, a period marked by a rebirth of interest in classical antiquity and humanistic values.
Botticelli's oeuvre includes iconic mythological paintings like "The Birth of Venus" and "Primavera," both housed in the Uffizi Gallery in Florence. These masterpieces are distinguished by their allegorical complexity and the delicate portrayal of figures that seem to transcend the earthly realm, reflecting Botticelli's interest in blending myth with a narrative style that appeals to the viewer's sense of wonder and contemplation. His religious works, characterized by expressive emotion and devotional intensity, also earned him acclaim, particularly his contributions to the Sistine Chapel in Rome.
Despite his success, Botticelli's later years were marked by a shift in style influenced by the somber preachings of Savonarola, leading to a preference for more devotional themes. His reputation waned posthumously until the late 19th century, when a resurgence of interest in his work restored Botticelli to his rightful place as a master of the Renaissance. Today, Botticelli is regarded as an artist whose works encapsulate the innovative spirit of his time, bridging the Gothic tradition with the emerging Renaissance aesthetic. His legacy endures, inspiring art lovers and collectors who are drawn to the ethereal beauty and rich symbolism of his paintings.
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Francesco Brambilla the Younger was an Italian sculptor active in the Milanese area during the Renaissance (16th century), particularly famous for his work of decorating the Milan cathedral. The statues of the Four Doctors of the Church are his work, placed in the right pulpit and made in 1590, cast in bronze by Giovanni Battista Busca; he also made the models for most of the angels in the rear choir, those for the choir carvings and the stuccoes of the shutters.
Paul Bril was a prominent Flemish painter, best known for his significant contributions to landscape painting. Born around 1554 in Antwerp, he later moved to Rome, where he became a central figure in the art scene, influencing the Italian and Northern European landscape painting traditions.
Paul Bril's early works were steeped in the Flemish manner, exhibiting a picturesque arrangement of landscape elements with dramatic contrasts of light and dark. His style evolved during his stay in Rome, influenced by the work of Annibale Carracci and Adam Elsheimer. By around 1605, Bril's compositions became more serene and classical, showcasing calmer transitions from foreground to background and embracing pastoral and mythological themes.
Paul Bril's contributions extended beyond his paintings. He was a respected figure in Rome's art community, becoming the first foreign director of the Accademia di San Luca in 1621. His patrons included some of the most influential families in Rome, and his work was sought after by collectors and fellow artists. Bril's influence was profound, impacting future generations of artists, including the Dutch Italianates and genre painters active in Rome.
His works can be found in prestigious galleries worldwide, illustrating his enduring legacy in the art world. For collectors and art and antiques experts, Paul Bril's work represents a significant period in the evolution of landscape painting, blending Flemish traditions with Italian classicism.
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Agnolo di Cosimo di Mariano, also Agnolo Tori, called Bronzino was an Italian painter, an important representative of Mannerism.
Bronzino was a painter of frescoes, altarpieces, devotional paintings and allegorical and mythological scenes. However, he excelled above all as an outstanding portrait painter. As in the case of Raphael, his works could be disseminated through the new possibilities of printmaking.
Hans Brosamer was a German draughtsman, printmaker and painter of the Renaissance period. His life has left hardly any documentary trace, other than his prints. His works include over 600 woodcuts, mostly illustrations for books of various sorts, but also a number of independent prints. He produced 38 engravings (as listed by Hollstein), and a number of drawings, mostly with his monogram. As a painter, a number of portraits of figures from the local elites, normally at half-length, are attributed to him. On account of the small size of his engravings he is counted among the Little Masters, and many of these are rather derivative of others in the group, such as Jacob Binck and Heinrich Aldegrever, and of Lucas Cranach the Elder in his portraits.
Jan Brueghel the Elder, a Flemish painter born in 1568 in Brussels, was a pivotal figure in the Baroque period known for his intricate landscapes, detailed still lifes, and genre scenes. The son of Pieter Bruegel the Elder, Jan was distinguished by his delicate brushwork, earning him the nicknames "Velvet" Brueghel, "Flower" Brueghel, and "Paradise" Brueghel, each reflecting a different aspect of his versatile artistic output. His monikers refer to his skill in rendering fabrics, his specialization in flower still lifes, and his creation of the paradise landscape genre, respectively.
After early training in Brussels, possibly under the guidance of his grandmother Mayken Verhulst, and further studies in Antwerp, Brueghel ventured to Italy, where he worked in Rome under the patronage of Cardinal Ascanio Colonna and met influential artists like Paul Bril. His Italian sojourn greatly influenced his style, especially in landscape painting. Upon returning to Antwerp, he established a flourishing workshop and became a master in the Guild of St. Luke. Brueghel's collaborations with Peter Paul Rubens are among the most celebrated in art history, showcasing a harmonious blend of landscape and figure painting.
Jan Brueghel the Elder's works are prized for their vibrant depiction of nature and meticulous attention to detail. His landscapes are not just backdrops but are lively settings filled with rich narratives and a variety of creatures, reflecting his deep appreciation for the natural world. His flower pieces are equally renowned for their variety and realism, often serving as allegorical or symbolic representations.
Brueghel's legacy extends beyond his paintings; he was a pivotal figure in the Antwerp artistic community, serving as dean of the Guild of St. Luke and court painter to the Archduke Albert of Austria and the Infanta Isabella Clara Eugenia of Spain. His influence continued through his children, with his son Jan Brueghel the Younger continuing his workshop and maintaining the family's artistic traditions.
For collectors and experts in art and antiques, Jan Brueghel the Elder's works represent a high point in Flemish Baroque art, offering a glimpse into the era's aesthetic values and the artist's profound observation of the world around him. His paintings, found in museums and galleries worldwide, continue to captivate audiences with their beauty and depth.
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Carlo Cannovaro Caliari was an Italian artist of the Renaissance period. He is also known as Carletto. The youngest son of Paolo Veronese, Caliari was active mainly in Venice, where he worked and inherited the studio of his far more famous father, and later worked along with his brother Gabriele and his uncle, Benedetto.
Peter Candid was a Flemish painter, tapestry designer, draughtsman and sculptor.
Pieter Candide worked mainly in Italy and Germany. He was an artist at the court of the Medici in Florence and at the Bavarian court of Duke Wilhelm V and his successor Maximilian I in Munich.
His paintings range from historical paintings, portraits, mythological scenes and allegories. He created large altarpiece images as well as complex decorative designs.
Candide's style was characterised by a combination of Italian and Flemish influences, with a particular emphasis on detailed, realistic depictions of the human form.
Vittore Carpaccio, an illustrious Italian painter, was a master of narrative storytelling and vivid detail, flourishing in Venice between 1465 and 1526. His specialization in religious and historical scenes set him apart, with a particular knack for infusing life and emotion into every brushstroke. Carpaccio's work exemplifies the Venetian School's richness, noted for its deep colors and intricate details that capture the viewer's imagination.
Carpaccio is renowned for his ability to weave intricate narratives through his paintings, often depicting scenes from the lives of saints with both devotion and a keen eye for daily Venetian life. His works are celebrated for their meticulous attention to architectural and costume details, offering a window into the Renaissance period's social and cultural contexts.
Among his known masterpieces, the cycle of paintings dedicated to the legend of Saint Ursula in the Scuola di San Giorgio degli Schiavoni in Venice stands as a testament to his narrative prowess and technical skill. These works, alongside others housed in prestigious galleries worldwide, underscore Carpaccio's significant contribution to the art world, making him a subject of admiration among collectors and art historians alike.
For those fascinated by the splendor of the Renaissance and the beauty of Venetian artistry, Vittore Carpaccio's oeuvre offers a rich tapestry of historical and religious narratives brought to life through his exceptional talent. His legacy continues to inspire and captivate, embodying the essence of one of the most vibrant periods in art history.
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Agostino Carracci, an Italian painter and printmaker born in 1557 in Bologna, is celebrated not just for his own art but also for his significant contributions alongside his brother Annibale and cousin Ludovico to the revitalization of Italian painting at the end of the sixteenth century. While Agostino's paintings are noteworthy, he is particularly distinguished as one of the premier printmakers of his era, producing high-quality reproductive engravings of works by renowned artists like Veronese and Tintoretto, as well as his original creations.
His collaborative work with Annibale on the frescoes for the gallery of the Palazzo Farnese in Rome is one of the notable highlights of his career, demonstrating the Carracci family's impact on the direction of Italian art towards a more realistic and classical style, countering the prevalent Mannerist tendencies of their time. His untimely death in 1602 in Parma curtailed a career that, through his engravings and teachings at the informal academy founded in Bologna with his relatives, influenced a broad swath of the art world, including future generations.
For art collectors and experts, Agostino Carracci's works offer a glimpse into a pivotal moment in art history, where a shift towards classical realism was being forged. His engravings and paintings remain a testament to his skill and a vital part of the narrative of Italian art's evolution.
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Annibale Carracci was an Italian painter and instructor, renowned for his influence in the transition from Mannerism to the Baroque style. Born into a humble family in Bologna, Annibale, alongside his brother Agostino and cousin Ludovico, founded the Accademia degli Incamminati, promoting a new artistic approach that combined a thorough study of nature with the study of previous art masters. This approach aimed to form a universal style, distinguishing their work from the mannered art of their contemporaries.
Annibale's work in Rome, especially his frescoes in the Palazzo Farnese, showcased his mastery of illusionistic elements, drawing inspiration from classical antiquity and the works of Michelangelo Buonarroti and Raphael. His work on the Galleria Farnese ceiling is particularly noted for its integration of classical ideals with dynamic Baroque energy, making it a seminal work in the evolution of Baroque art. His style influenced a myriad of artists, including Peter Paul Rubens, Nicolas Poussin, and Gian Lorenzo Bernini, and his approach to painting, emphasizing a blend of idealism with observational naturalism, set a new standard for European art.
Annibale Carracci's legacy extends beyond his frescoes; his genre paintings and landscapes were pivotal in elevating these forms to new prominence. His innovative techniques and thematic versatility have ensured his esteemed place in art history, influencing the trajectory of 17th-century European art.
For art collectors and experts, Annibale Carracci's works represent a pivotal moment in the evolution of European painting, showcasing a transition from the detailed naturalism of the Renaissance to the expressive dynamism of the Baroque. His influence is evident in the works of subsequent generations of artists, marking him as a figure of immense historical and artistic significance.
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Lodovico Carracci was a significant Italian painter and printmaker from Bologna, renowned for his contributions to Baroque art and the Bolognese school. He was a pivotal figure in reinvigorating Italian art, particularly fresco art, which had been overshadowed by the formalistic Mannerism of the late Renaissance period.
His works are distinguished by their emotional depth and spiritual intensity, often achieved through bold gestures and dramatic lighting. As an artist, he was instrumental in establishing the Carracci workshop and style, alongside his cousins Agostino and Annibale Carracci. Together, they founded an art academy in Bologna around 1585 that focused on a naturalistic approach to painting, emphasizing life drawing and a return to classical principles.
Lodovico Carracci was known for his skillful use of colour and his ability to create harmonious and balanced compositions. His works often depicted religious and mythological subjects and he was particularly famous for his frescoes, which adorned many churches and palaces in Bologna. He was also an influential teacher, with Guido Reni and Domenichino among his pupils.
Among Carracci's known works are notable religious compositions like "The Lamentation" and "Madonna and Child with Saints," which are now housed in prestigious museums such as The Metropolitan Museum of Art in New York. He also worked on significant fresco cycles in private palaces, such as the cycle depicting the story of Jason and the Argonauts in the Palazzo Fava, completed in 1584.
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Alessandro Casolani was an Italian painter of the late-Renaissance period, active mainly in Siena. He was also called Alessandro della Torre. His works are principally in the churches of Siena, but are also found in Naples and Genoa. He also etched one plate, a Madonna. His son, Ilario Casolani was also a painter. Among the pupils of Casolani are Bernardino Capitelli, Sebastiano Folli, and Giovanni Biliverti.
Giovanni Battista Castello was an Italian historical painter. His best-known works are the paintings on the vault of the Basilica della Santissima Annunziata del Vastato. He was an architect and sculptor as well as painter. He painted of the Martyrdom of St. Sebastian in the monastery of San Sebastiano. He worked on various projects with his friend Cambiaso, including in a chapel for the Duomo di San Lorenzo.
Bernardo Castello (or Castelli) was an Italian painter of the late-Mannerist style, active mainly in Genoa and Liguria. He is mainly known as a portrait and historical painter. He was apprenticed under Andrea Semino and Luca Cambiaso, then travelled throughout Italy, meeting other painters and creating his own particular style. During his career he painted many works and was appreciated by famous poets with whom he had friendships. Beside working in Genoa, Castello was employed in Rome and worked also for the Duke of Savoy, Charles Emmanuel I.
Giacomo Cavedone was an Italian Baroque painter who worked in Bologna. He was a pupil of Lоdovico Carracci, one of the founders of the Accademia Carracci, which was the leading artistic institution in Bologna.
Giacomo Cavedone was known for his skilful use of chiaroscuro and his ability to create dramatic and emotional scenes. He painted both religious and secular subjects, including portraits, mythological scenes and historical events.
In addition to his career as a painter, Cavedone also worked as an engraver and was involved in the decoration of several palaces in Bologna.
Bartolomeo Cesi was an Italian painter and draftsman of the Bolognese School. He made easel paintings as well as frescoes. He is known mainly for his religious paintings but he also painted portraits and mythological scenes.
Gillis Claeissens or Egidius Claeissens was a Flemish painter from a dynasty of a famous family of artists from Bruges.
Gillis trained in the studio of his father, Pieter Claeissens, worked at the court of Alexander Farnese in Brussels, and later was court painter to Archdukes Albert and Isabella. He painted religious paintings for the Brussels court, as well as miniature portraits of the Archduchess.
Gillis was a master of portraits, as well as of prostrate images. His portrait paintings are distinguished by the careful painting of the clothes and jewelry of people whose poses are usually static and whose faces are inexpressive.
François Clouet was a major French Renaissance portrait painter.
François was the son of the painter Jean Clouet (1485-1540), from whom he learned painting. He became the favorite court portraitist of Kings Francis I, Henry II, Francis II and Charles IX.
François Clouet became famous for his mastery, accurately conveying the characters of people and meticulously painting their costumes.
Cornelis Cort, also known as Cornelio Fiammingo, was a Dutch engraver and draughtsman. He began his career in the Northern Netherlands, but later moved to Venice and lived in Titian's house. Cort produced engravings based on Titian's works and became renowned for his copperplates of various subjects. He traveled back and forth between Italy and the Netherlands, establishing a school in Rome and circulating works of famous artists. Cort's impressive output includes over 150 engravings.
Juan Sánchez Cotán was a Spanish painter, born in 1560 in Orgaz, Toledo, and passed away in 1627 in Granada. He is celebrated for being among the earliest Spanish painters to focus on still life, a genre he significantly influenced before deciding to join a Carthusian monastery at the age of forty-three. Cotán's still lifes are renowned for their simplicity, featuring a few fruits or vegetables, some hanging from fine strings and others placed on a ledge, against a dark, almost impenetrable background. This unique style not only highlights the geometric clarity of the forms but also imbues them with a mystical quality, setting him apart from his contemporaries.
Before embracing a monastic life, Cotán had an established career in Toledo, accepting commissions for religious paintings and engaging in the secular art scene. His transition to monastic life did not halt his artistic pursuits; he continued painting, focusing on religious themes and the history of the Carthusian order. Notably, Cotán's still lifes, such as "Still Life with Quince, Cabbage, Melon, and Cucumber" housed in the San Diego Museum of Art, and "Still Life with Game Fowl" at the Art Institute of Chicago, are among the most emblematic of his work, showcasing his ability to transcend the ordinary and imbue it with profound spiritual significance.
Juan Sánchez Cotán's work is a bridge between the mundane and the mystical, capturing the beauty of simple objects with unparalleled depth and precision. His legacy is a testament to the power of still life as a genre capable of conveying complex themes of spirituality and the natural world. For collectors and experts in art and antiques, Cotán's paintings are not just visually captivating; they are portals to a bygone era that celebrated the beauty in the simplicity of everyday life.
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Raphael Coxie was a Flemish Renaissance painter mainly known for his portrait and history paintings. Details about the life and career of the artist are sketchy. He was only rediscovered as a distinctive artist in the 19th century. He was a pupil of his father and became master in the Mechelen Guild of Saint Luke in 1562. Raphael was a passionate gardener and friend of the Flemish botanist Carolus Clusius to whom he sent drawings of flowers, which Clusius used in his scientific publications. He was active from 1586 in Brussels where he became a master of the local painter's guild in 1605. In the period 1588-89 he spent time in Ghent on a major commission for a painting of the Last Judgement. While in Ghent Coxie also painted a Resurrection of Christ for the monks of the Abbey of Drongen. He is recorded in 1597 as making, in collaboration with Gilbert van Veen, several portraits commissioned by Philip II of Spain.
Lucas Cranach the Elder was a pivotal figure in German Renaissance art. As a leading painter of Saxony, his influence spanned across the 16th century, making significant contributions through his paintings, woodcuts, and engravings. His artistic journey began under the tutelage of his father, Hans Maler, and saw him becoming court painter to the Elector of Saxony, where he produced a vast array of works including altarpieces, court portraits, and notably, portraits of Protestant Reformers.
Cranach's artistry was not confined to any single genre. He was renowned for his portraits of the aristocracy, deeply symbolic religious paintings, and engaging mythological scenes. His ability to capture the essence of the Protestant Reformation, notably through his portraits of Martin Luther, showcases his close connection to the movement and his role as a key figure in conveying its ideals through art.
A significant part of Cranach's legacy is his workshop in Wittenberg, which was a hub of artistic production. This workshop produced numerous works that bore his distinctive winged serpent signature, a mark of quality and innovation in the art of the period. Cranach's workshop was known for its efficient operation, enabling the production of a large volume of works that catered to the high demand of his time.
For collectors and experts in art and antiques, Lucas Cranach the Elder's work represents an intriguing intersection of art, culture, and history. His contributions to Renaissance art and his unique portrayal of religious and mythological themes continue to captivate audiences, making his work highly sought after in the world of art collection.
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Lucas Cranach the Younger was a German painter of the mid-16th century. He is known as a Renaissance painter and portraitist, one of the sons of the painter and graphic artist Lucas Cranach the Elder.
Cranach the Younger painted portraits and paintings of the mythological genre. Despite his lack of courtly status, he worked for the social elite, including princes and nobles. After the artist's death, his works were distributed to various churches, schools, castles and homes. As a member of the new generation, he favored rich and flamboyant images. Cranach the Younger is believed to have created a new artistic program for the Protestants.
Domenico Passignano, born Domenico Cresti or Crespi, was an Italian painter of a late-Renaissance or Counter-Maniera (Counter-Mannerism) style that emerged in Florence towards the end of the 16th century.
Marco d'Oggiono was an Italian Renaissance painter and a chief pupil of Leonardo da Vinci, many of whose works he copied.
He was a hard-working artist, but his work has since been criticized by some for paintings are wanting in vivacity of feeling and purity of drawing, while, in his composition, it has been well said that "intensity of color does duty for intensity of sentiment". He copied Leonardo's Last Supper repeatedly, and one of his best copies is in the possession of the Royal Academy of Arts.
Giovanni da Bologna, also known as Jean de Boulogne (French), Giambologna (Italian), Fiammingo (Italian) and Jehan Boulongne (Flemish), was the last significant Italian Renaissance sculptor, with a large workshop producing large and small works in bronze and marble in a late Mannerist style.
Polidoro Caldara, usually known as Polidoro da Caravaggio was an Italian painter of the Mannerist period, "arguably the most gifted and certainly the least conventional of Raphael's pupils", who was best known for his now-vanished paintings on the facades of Roman houses.
Antonio da Correggio was a seminal figure in the Italian Renaissance, particularly renowned for his mastery in illusionistic fresco decoration. His works bridged the gap between the High Renaissance and the Baroque movement, influencing many subsequent artists in the Baroque and Rococo styles. Antonio da Correggio is celebrated for his dynamic compositions, innovative use of perspective, and the sensual nature of his paintings, which often depicted religious and mythological themes.
Antonio da Correggio's notable contributions include the frescoes in the dome of San Giovanni Evangelista and the Cathedral of Parma. His work, characterized by dramatic foreshortening and emotional intensity, represents a pioneering approach to dome decoration, creating an immersive experience for the viewer. The "Assumption of the Virgin" in Parma's Cathedral is particularly renowned for its dynamic composition and innovative perspective, offering a celestial vision filled with angels and figures in motion, heralding the artistic transitions towards the Baroque era.
Additionally, Antonio da Correggio's mythological series, such as "Jupiter and Io" and "Leda and the Swan," demonstrate his ability to blend sensuality with divine themes, presenting these narratives with a tender and intimate touch that was groundbreaking for his time.
For collectors and experts in art and antiques, Correggio's works epitomize the transition in art styles from the Renaissance to the Baroque, showcasing his unique ability to convey emotion and movement through his innovative techniques and compositions.
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Jacopo da Empoli, real name Jacopo Chimenti, was a prominent Italian painter, a representative of Counter-Mannerism in Italian art. This movement borrowed some features of Mannerism, but resolutely returned to the realism, harmony and poise of the High Renaissance.
Jacopo da Empoli received his artistic training in the workshop of Maso da San Friano and was inspired by the works of Pontormo and Santi di Tito. He created in Florence, small towns in Tuscany and even visited Genoa.
Jacopo da Empoli created religious paintings and portraits, but an interesting feature of his work was his unique still life paintings, completely different from those of the Dutch masters of the time.
Jacopo da Pontormo, an Italian painter born in 1494, was a pivotal figure in the Mannerist movement, diverging from the High Renaissance's balanced compositions to explore more expressive and emotionally charged art. His work is celebrated for its unusual color palettes, elongated forms, and a unique approach to perspective, all of which contribute to the intensely emotional effect of his paintings.
Operating in Florence, Pontormo's art is distinguished by its vivid expressiveness and dramatic tension, characteristics that set him apart from his contemporaries. His ability to convey deep psychological complexity through his subjects has left a lasting impact on the history of art, making his works highly prized among collectors and scholars alike.
One of his most acclaimed works, the "Deposition from the Cross" in the Capponi Chapel in Florence, exemplifies his innovative approach to composition and color, marking a significant departure from traditional depictions of this biblical scene. This masterpiece, along with others like his portraits and religious paintings, can be found in some of the world's most prestigious museums and galleries.
For art collectors and enthusiasts, Jacopo da Pontormo represents the intriguing complexity of the Mannerist period, offering a window into the evolving artistic landscape of 16th-century Italy. His works not only challenge the viewer's expectations but also invite a deeper exploration of the emotional and spiritual dimensions of painting.
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Jacopo da Valenza was an Italian Renaissance painter.
He worked between 1485 and 1509 in many churches in the Belluno and Vittoria districts of Veneto, creating altarpieces and altarpieces. Two of his most important works are now preserved in Vittorio Veneto, in their original locations: the Madonna and Child on the Throne in the cathedral of Ceneda, 1484, and the Madonna and Child in the church of San Giovanni Battista di Serravalle, 1502. Some works are in museums in Italy.
Leonardo da Vinci was an Italian polymath of the High Renaissance, celebrated as a painter, draughtsman, engineer, scientist, theorist, sculptor, and architect. His remarkable abilities and innovative thinking made him an epitome of the Renaissance humanist ideal. Born in Vinci, near Florence, in 1452, Leonardo was educated in Florence by Andrea del Verrocchio, a renowned painter and sculptor. He began his career in Florence, later working in Milan, Rome, and France, where he died in 1519.
Da Vinci is revered for his artistic mastery, technological innovation, and scientific inquiry. Despite having fewer than 25 major works attributed to him, including several unfinished ones, his influence on Western art is profound. His magnum opus, the "Mona Lisa," housed in the Louvre Museum, Paris, is considered the world's most famous painting. "The Last Supper," his most reproduced religious painting, showcases his mastery of dramatic narrative and pictorial illusionism. Both paintings exhibit Leonardo's unique ability to convey complex human emotions and his innovative use of techniques like sfumato and chiaroscuro.
Leonardo's interests extended far beyond fine art. He was a visionary in multiple fields, including anatomy, physics, architecture, and mechanics. His notebooks reveal designs for machines like bicycles, helicopters, and military tanks, centuries ahead of their time. However, due to his diverse interests, he left many projects and paintings incomplete. Leonardo's final years were spent in France, where he continued his artistic and scientific pursuits until his death.
For collectors and experts in art and antiques, Leonardo da Vinci remains a figure of endless fascination. His works not only embody the pinnacle of Renaissance art but also provide insights into the era's scientific and philosophical inquiry. To stay updated on new sales and auction events related to Leonardo da Vinci, sign up for our newsletter. This subscription is a gateway to exploring the rich legacy of this unparalleled artist and inventor.
Jacopo Bassano, known also as Jacopo dal Ponte, was an Italian painter who was born and died in Bassano del Grappa near Venice, and took the village as his surname. Trained in the workshop of his father, Francesco the Elder, and studying under Bonifazio Veronese in Venice, he painted mostly religious paintings including landscape and genre scenes. He often treated biblical themes in the manner of rural genre scenes, portraying people who look like local peasants and depicting animals with real interest. Bassano's pictures were very popular in Venice because of their depiction of animals and nocturnal scenes. His four sons: Francesco Bassano the Younger, Giovanni Battista da Ponte, Leandro Bassano, and Girolamo da Ponte, also became artists and followed him closely in style and subject matter.
Jean de Court, also known as Master IC, was a French artist and painter.
He was a member of the de Court dynasty of artists who made enamel in Limoges in southwestern France for several generations. Jean de Court also worked in this workshop and served as the official portrait painter to the monarchs of Scotland and France.
Blas de Prado, a distinguished Spanish painter, was born around 1545 in Camarena, near Toledo. A pupil of Alonso Berruguete, Prado is renowned for his contributions to Spanish Renaissance art. His works, characterized by their classical and naturalistic styles, reflect a deep understanding of Italian influences and a mastery in portraiture.
Prado's career was predominantly centered in Toledo, where he created numerous works for local churches and also received patronage from the Spanish royal court. His painting style is noted for its blend of Italian classicism and Venetian color influences, visible in his religious and portrait works. One of his significant contributions to Spanish art was introducing still-life painting, as noted by the art theorist Francisco Pacheco.
Among Prado's most notable works is "The Holy Family with Saints Ildephonsus, John the Evangelist and the Master Alonso de Villegas" (1589), which is housed in the Museo del Prado, Madrid. This masterpiece showcases his skill in blending monumental Italian classicism with realistic portrayal. His other significant works include "The Descent from the Cross" at Valencia Cathedral, showcasing influences from Michelangelo, and a series of frescoes in the chapel of the Quinta de Mirabel, Toledo.
Prado's legacy extends beyond his paintings. His influence as a teacher is evident in the works of his students, like Juan Sánchez Cotán, a significant figure in Spanish still-life painting. Blas de Prado's artistry left an indelible mark on the Spanish Renaissance, making him a figure of immense interest to collectors and experts in art and antiques.
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Pedro de Raxis was a Spanish painter and gilder known for his contributions to the Granadan school of art. Born in 1555 in Alcalá la Real, Jaén, Raxis became a key figure in Granada art of the Counter-Reformation era. Characterized by vivid narrative and Mannerist influences, his works are characterized by intense, luminous colors and delicate composition.
Raxis's career was marked by numerous significant commissions. Among his best-known works are the murals for the church of San Cecilio in Granada (1580), the retablos of Santa María Mayor de Alcaudete (Jaén) and Asunción de María in Granada Cathedral (1615). These works demonstrate his exceptional skill in estofado, a technique involving the gilding and polychroming of statues and altarpieces.
One of Raxis's most famous works is Aparicion de la Virgen a San Jacinto, preserved in the Granada Museum of Fine Arts. This painting, dating from around 1600, represents a significant achievement in Raxis's artistic journey. It illustrates the mystical ecstasy and contemplative rapture characteristic of Spanish Baroque culture. The expressive depth and rich tonal range of the painting became more evident after its restoration in 1998.
Pedro de Raxis's influence extended beyond his paintings. Contemporaries such as Francisco Pacheco praised his mastery of estofado and gilding. Raxis established one of the most prolific and versatile workshops in Granada, which left an indelible mark on the artistic landscape of Andalusia.
For collectors and art experts, Raxis' work remains a testament to the rich cultural heritage of the Granada school. His paintings not only reflect the artistic fervor of the era, but also provide a glimpse into the religious and cultural world of Counter-Reformation Spain.
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Marten de Vos (or Maarten de Vos, or Maerten de Vos) was a Dutch painter, draughtsman and graphic artist, dean of the Antwerp Guild.
After studying in Rome and Venice, de Vos returned to his native Antwerp in 1558 and became one of the city's leading artists. He created altarpiece images for many of Antwerp's churches. Many of his religious and historical paintings were later engraved, making him known throughout Flanders.
De Vos was also the founder of the Society of Romanists, whose members were famous artists and humanists of the time who appreciated the humanistic culture of Rome.
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.
Nicolò dell'Abate was an influential Italian Mannerist painter, known for his vital role in integrating the Italian Renaissance's artistic principles with French Mannerism. Born around 1509 in Modena, Italy, his early experiences under local Modenese sculptors and painters like Il Garofalo and Dosso Dossi shaped his initial artistic style, which featured elaborate landscapes and mythological narratives.
Abate's journey took a pivotal turn in 1552 when he moved to France to work at the Château de Fontainebleau under the patronage of Francesco Primaticcio. This period marked a significant evolution in his style as he engaged deeply with French cultural and artistic norms. At Fontainebleau, he was instrumental in the decoration of royal spaces, bringing a distinctly Italian Mannerist flair to his frescoes and tapestries. His works from this period, such as 'The Death of Eurydice' and landscapes for Charles IX, showcased a refined integration of narrative and environment, significantly influencing later French artists like Claude Lorrain and Nicolas Poussin.
Abate's legacy extends beyond his frescoes and canvases, touching on the ephemeral aspects of art through festive decorations for courtly celebrations, which though temporary, left a lasting impact on the French artistic landscape. His contribution to the School of Fontainebleau helped establish a stylistic foundation that would carry forward into the classical age of French painting.
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Rutilio di Lorenzo Manetti was an Italian painter of late-Mannerism or proto-Baroque, active mainly in Siena. He was influenced and/or taught by the local artists Francesco Vanni and Ventura Salimbeni. His style moved from one derived from Barocci to a more Caravaggesque manner after the first decade of the 17th century. Among his masterpieces are his contributions to the Casino Mediceo, which he worked alongside Matteo Rosselli, Giovanni Lanfranco, and Cesare Dandini. One of his pupils or followers is Stefano Volpi.
Santi di Tito was one of the most influential and leading Italian painters of the proto-Baroque style – what is sometimes referred to as "Counter-Maniera" or Counter-Mannerism. Santi completely rejected the maniera of Bronzino, and embraced a classical Reformist and naturalistic style. Santi's mature style is reflected in his masterpiece of the Vision of Saint Thomas Aquinas, also known as Saint Thomas Dedicating His Works to Christ located in the church of San Marco in Florence.
Tiberio di Tito was an Italian painter. He was the son and pupil of the late-Mannerist painter Santi di Tito. He specialized in portrait painting, including small pencil portraits, on which he was much employed by Cardinal Leopoldo de' Medici.