Engravers 16th century
Lambert Hopfer, an active German artist in the first half of the 16th century, made a name for himself in the realm of art through his distinctive etchings. Though details about his life are scarce, Hopfer's work has endured the test of time, offering a unique window into the art and culture of his era.
Hopfer's contributions to the art world are primarily characterized by his etchings, which showcase a remarkable skill in this medium. He was active around 1525-1550, a period that saw a flourishing of artistic expression in Germany. Among his notable works is the "Candelabra Grotesque with Heads of Dolphins and Dragons in the Center," an etching that exemplifies the intricate and detailed style he was known for. This piece is part of the collection at The Metropolitan Museum of Art, highlighting its artistic significance.
Though not as widely known as some of his contemporaries, Lambert Hopfer's works remain important to collectors, auctioneers, and experts in art and antiques, particularly those with an interest in the development of printmaking techniques during the Renaissance period. His etchings offer valuable insights into the artistic styles and cultural themes of his time.
For those interested in exploring Lambert Hopfer's artistic legacy further, staying informed about exhibitions featuring his work and opportunities to acquire his pieces would be highly beneficial. Engaging with Hopfer's art provides a deeper appreciation of the intricate techniques and cultural context of 16th-century German etchings.
Cherubino Alberti, also called Borghegiano, was an Italian engraver and painter. He is most often remembered for the Roman frescoes completed with his brother Giovanni Alberti during the papacy of Clement VIII. He was most prolific as an engraver of copper plates.
Albrecht Altdorfer, a notable German painter, engraver, and architect of the Renaissance era, was especially recognized for his contributions to landscape painting. Born around 1480, Altdorfer was a pivotal figure in the Danube School, distinguishing himself with his integration of natural landscapes into biblical and historical narratives.
His works are celebrated for their detailed and expressive landscapes, often serving as backdrops to religious and historical scenes. A hallmark of his style is the emotional intensity and vivid use of colors, which border on expressionistic in his religious scenes, particularly seen in works like the Sebastian Altar in St. Florian's Priory. Altdorfer's painting, "The Battle of Alexander at Issus," stands out for its epic portrayal of Alexander the Great's victory, showcasing Altdorfer's talent in blending historical narrative with dramatic landscape settings.
In addition to his artistic pursuits, Altdorfer was actively involved in the civic life of Regensburg, serving as its mayor in 1528. His legacy in the art world is profound, with his innovative approach to landscape painting influencing the course of European art.
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Erhard Altdorfer, a German Early Renaissance printmaker, painter, and architect, is renowned for his contributions to the arts during the 16th century. Born around 1480, Altdorfer's career flourished in Schwerin, where he served as a court painter and architect for the Dukes of Mecklenburg from 1512 until his death in 1561. His journey into the arts likely began under the guidance of his older brother, Albrecht Altdorfer, a prominent figure in the same era.
Altdorfer's early work possibly included collaboration with his brother in Regensburg. By 1512, his talents led him to Schwerin, marking the start of a significant phase in his career. His oeuvre includes various forms, from engravings and woodcuts to paintings and architectural designs. Notable among his works are contributions to the Lübeck Bible, showcasing his skill in woodcut illustrations. Despite the limited number of signed works, his contributions to printmaking and painting hold a place in the history of German Renaissance art. His works, reflecting a blend of influences, including from Lucas Cranach the Elder and Jacopo de' Barbari, demonstrate a unique interpretation of the Renaissance style.
For collectors and experts in art and antiques, understanding Altdorfer's role within the context of the Early Renaissance and his contributions, especially in printmaking and painting, offers a nuanced appreciation of this period. His works, though not as prolifically signed as those of some contemporaries, remain significant for their historical and artistic value. To stay updated on new discoveries or auction events related to Erhard Altdorfer's works, consider signing up for updates to deepen your knowledge and collection of Renaissance art.
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.
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.
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.
Willem Janszoon Blaeu was a Dutch cartographer and map publisher.
Willem studied astronomy and cartography under the Danish astronomer Tycho Brahe and even discovered the variable star P Swan in 1600. A little later Blaeu settled in Amsterdam, where he began making globes and also began producing land and sea maps, including a 1605 world map. In 1629 he managed to acquire the printing plates of the cartographer Jodok Hondius, with which he published his own atlas.
In 1633, Willem Blaeu was appointed cartographer of the Dutch Republic, as well as the official cartographer of the Dutch East India Company. Blau built up a large collection of maps and conducted an extensive publishing business. After Willem's death, his sons Jan Blaeu (1596-1673) and Cornelius Blaeu successfully continued his work. But in 1672, during a fire in Amsterdam, Blaeu's workshop was destroyed, and the company founded by Willem Blaeu ceased to exist in 1698.
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.
Hans Bol was a Flemish artist renowned for his miniature paintings and prints. Born in Mechelen, Bol was a pivotal figure in the transition from the world landscape tradition to a more realistic portrayal of nature. His early works as a 'water-verwer' offered affordable wall decorations but were susceptible to copying. This led him to create intricate miniatures on parchment, a medium less easily replicated.
Bol's influence on landscape art in the Low Countries is significant. His realistic landscapes, often featuring biblical scenes or daily life, showed a departure from imaginary landscapes, which was common at the time. This shift was partly due to the influence of Pieter Bruegel the Elder. Bol's completion of the Four Seasons series, initially started by Bruegel, established him as a master of landscape art, blending detailed observation with imaginative elements.
Notably, Bol's works are present in prestigious institutions such as the Metropolitan Museum of Art, where pieces like "The Prodigal Son" and various landscapes reflect his mastery of pen, ink, and wash. His artworks, like the "Landscape with a View of Antwerp," stand testament to his skill in capturing the essence of the Dutch landscape, influencing a generation of Dutch painters.
For collectors, auctioneers, and art connoisseurs, Hans Bol's legacy offers a glimpse into the evolution of landscape painting. His works not only adorned the homes of the affluent during his time but continue to be celebrated for their historical and artistic value.
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Schelte Adamsz Bolswert was a leading Dutch engraver, noted for his works after Rubens and Van Dyck. Both he and his older brother, Boetius à Bolswert, worked in Amsterdam and Haarlem before settling in Antwerp. For the last five years of his life Boetius worked exclusively on engravings after Rubens. Bolswert's plates were worked entirely with the graver, and he does not seem to have made any use of the drypoint. The freedom which this excellent artist handled the graver, the picturesque roughness of etching, which he could imitate without any other assisting instrument, and the ability he possessed of distinguishing the different masses of colours, have always been admired by the conoisseurs".
Giulio Antonio Bonasone was an Italian painter and engraver born in Bologna. He possibly studied painting under Lorenzo Sabbatini, and painted a Purgatory for the church of San Stefano, but all his paintings have been lost. He is better known as an engraver and is believed to have trained with Marcantonio Raimondi. He worked mainly in Mantua, Rome and Venice and with great success, producing etchings and engravings after the old masters and his own designs.
He has been regarded an engraver with extraordinary skills in reproducing, as he could accurately convey the sources' compositions, colours, and essence. Moreover, he expressed his understanding about the controversies about religion and culture in his time through his prints. He is considered among the most important and productive engravers of the sixteenth century.
Georg Brentel the Younger was a German draftsman, engraver, and author of works on sundials and instrumentation.
He was the son of the cartographer Hans Brentel (1532-1614) and nephew of the armorial artist Georg Brentel the Elder (1525-1610). He always showed an interest in mathematics and astronomy, writing papers on these subjects and making instruments.
Brentel was particularly fond of designing sundials, and wrote several instructions for assembling various types of sundials - round and cubic, cross-shaped and heart-shaped.
Jörg Breu the Elder of Augsburg, was a painter of the German Danube school. He was the son of a weaver. He journeyed to Austria and created several multi-panel altarpieces there in 1500–02, such as the Melk Abbey altar (1502). He returned to Augsburg in 1502, where he became a master. He travelled to Italy twice, in ca. 1508 and in 1514/15.
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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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.
Hans Burgkmair the Elder was a German Renaissance painter, graphic artist and sculptor. He came from a family of painters. He studied painting with Martin Schongauer in Colmar from 1488.
Hans Burgkmayr was a versatile artist, working in various techniques including painting, woodcuts, stained glass designs and tapestries. He was known for his complex and detailed style, which included elements of naturalism and symbolism.
Burgkmayr's paintings often depicted religious and mythological themes, as well as historical events. His style is influenced by the Italian Renaissance, particularly in its attention to anatomical accuracy and use of perspective.
One of Hans Burgkmayr's significant contributions was in the field of engraving. His woodcuts were highly regarded for their technical skill and artistic quality.
Ugo da Carpi was an Italian printmaker active between 1502 and 1532 in the cities of Venice, Rome and Bologna. He is known for his technical and stylistic contributions to the chiaroscuro woodcut, a printmaking technique using blocks of different colours. Ugo claimed to be the first to use this technique, seeking a copyright first from the Venetian senate, and later from Pope Leo X. Although he did not create the chiaroscuro woodcut technique, he was one of the first Italian practitioners. He contributed to its development through his powerful style, focus on tonality and interpretive skills. One of his most famous works is a print of Diogenes. In addition to his numerous prints, he produced a writing book, and is also known to have produced at least one painting, the altarpiece of Saint Veronica in Saint Peter's Basilica in Rome.
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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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.
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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Giovanni Antonio da Brescia was an Italian Renaissance engraver who produced around 150 engravings, including those previously attributed to Zoan Andrea. He began his career under Andrea Mantegna in Mantua before settling in Rome and had an influence on Marcantonio Raimondi. His engravings mainly feature figures and use the burin and drypoint techniques. Giovanni Antonio's last known works were translations of painted works around 1519-1520, and some estimate his last production to be in 1525.
ohann Theodor de Bry (also Johann Dietrich de Bry) was a German publisher, engraver and draughtsman from the Calvinist de Bry family of artists.
Johann was the eldest son and apprentice of the Flemish painter and goldsmith Theodor de Bry (1528-1598). In 1598, Johann Theodor took over the family print shop and moved the business from Frankfurt to Oppenheim. In addition to many of his own works, he greatly added to the collection of "Portraits of Eminent Figures" begun by his father. De Bry specialized in richly illustrated scientific books.
Perino del Vaga (nickname of Piero Bonaccorsi) was an Italian painter and draughtsman of the Late Renaissance/Mannerism.
Del Vaga's style was renowned for his vitality and elegance. His paintings are considered important in the mediation between the Roman Raphaelesque tradition and the first Florentine Mannerism. He combined the manners of Raphael and Andrea del Sarto. Many of his works were engraved, even in his own lifetime. Daniele da Volterra, Girolamo Siciolante da Sermoneta, Luzio Romano and Marcello Venusti were among his principal assistants.
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.
Albrecht Dürer, born on May 21, 1471 in Nuremberg, Germany, is widely regarded as the greatest German Renaissance painter. His contribution to painting and engraving is quite significant and has left a notable mark on the art world. Dürer's early life was spent in Nuremberg, a city that played a crucial role in his development as an artist and was also the site of his death on April 6, 1528. He was the son of the goldsmith Albrecht Dürer the Elder, from whom he initially learned the basics of drawing and metalworking.
Dürer's work is characterized by a combination of Gothic elements with the emerging Renaissance style, which is evident in his woodcuts and engravings. His oeuvre encompasses many themes, including religious works, altarpieces, portraits, and self-portraits. His outstanding prints, such as The Knight, Death and the Devil (1513), St. Jerome in his Study (1514) and Melencolia I (1514), are known for their intricate detail and artistic skill. Dürer was also one of the earliest European landscape painters, as evidenced by his watercolor paintings.
Equally significant are his theoretical writings on mathematics, perspective, and ideal proportions in art. Dürer was not only an artist but also a keen intellectual, his interests encompassing various aspects of culture and science. He served as court painter to Holy Roman Emperors Maximilian I and Charles V, completing several significant art projects for them. Dürer's keen mind and versatile interests brought him into contact with the most prominent figures of his time, including theologians and scientists of the Reformation era.
Dürer's self-portraits are particularly famous, demonstrating not only his artistic skill but also his self-awareness and personal style. These portraits attest to his growing success and confidence as an artist. Dürer's legacy is immense; he influenced not only the art of his time, but also left an indelible mark on the history of European art.
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Jean Duvet was a French Renaissance goldsmith and engraver, now best known for his engravings. He was the first significant French printmaker. He produced about seventy-three known plates, that convey a highly personal style, often compared to that of William Blake, with very crowded compositions, a certain naive quality, and intense religious feeling. According to Henri Zerner, his work has a "freedom and immediacy that have no equivalent in Renaissance printmaking".
Angelo Falconetto was a Verona artist, draftsman and engraver who lived in the 16th century.
He has many engravings of landscapes and figures. Some are fully signed, others have a monogram that has been erroneously interpreted as being by the 17th century artist Angelo Falcone.
Odoardo Fialetti was an Italian painter and printmaker who began his training during the late Renaissance, and showed distinct mannerist sensibilities in his mid-career, adopting a much looser and more dynamic style in his later life.
Born in Bologna, he initially apprenticed with Giovanni Battista Cremonini, and after traveling to Rome, he moved to Venice to work in the elderly Tintoretto's studio.
From 1604 to 1612, he is listed as member of the Venetian Fraglia dei Pittori. In Venice, he painted a St Agnes for the church of San Nicolò da Tolentino and scenes from the Life of St Dominic for the sacristy of the Santi Giovanni e Paolo.
Frans Floris de Vriendt the Elder was a Flemish painter and engraver of the 16th century.
The artistic style of Frans Floris was strongly influenced by the Italian Renaissance. He combined elements of Italian mannerism with his own interpretation, creating a distinctive style characterized by attention to detail, vivid colours and dynamic compositions.
Frans Floris was known for his large-scale historical and mythological paintings, which often depicted complex subjects and included many figures. His works demonstrated his ability to create dramatic and evocative scenes, exploring themes of religion, mythology and human emotion.
Giuseppe Franco, an Italian painter active between 1565 and 1628, remains an enigmatic figure in the rich tapestry of art history. Known by various names, including Giuseppe Franchi, Giuseppe Monti, and Giuseppe dalle Lodole, his diverse monikers reflect the multifaceted nature of his work and the period's artistic fluidity.
Rooted in the transition from the Renaissance to the Baroque, Franco's artistry is characterized by its dynamic compositions and emotional intensity. While specific details of his oeuvre are less documented, his known works suggest a mastery of form and color, embodying the evolving styles of his time. Franco's paintings, presumably found in Italian churches and private collections, would offer a glimpse into the religious and cultural narratives prevalent during his lifetime.
Franco's contributions to art and culture are significant for their historical context and the light they shed on the period's aesthetic developments. His style, indicative of the early Baroque's emerging vibrancy, would have played a role in the transition from the classical harmony of the Renaissance to the expressive drama of the Baroque.
For collectors and experts in art and antiques, Giuseppe Franco's works represent a fascinating puzzle piece of history, bridging gaps between known artistic milestones. His paintings, if extant, would be prized not only for their beauty but also for their historical value, offering insights into the era's shifting paradigms.
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Gemma Frisius, born Jemme Reinerszoon Frisius, was a Dutch mathematician, physician, cartographer, philosopher, engraver, and master of astronomical instruments.
He taught mathematics and medicine at the University of Leuven and applied his mathematical knowledge to astronomy, geography, and map-making. Frisius participated in the creation of the latest globes and used mathematics in geodesy and navigation in new ways and invented or improved many instruments, including the cross staff, the astrolabe, and the astronomical rings (also known as "Gemma rings"). He ran a workshop for making such instruments.
Frisius is credited with being one of the founders of the Dutch school of cartography.
Philips Galle was a Dutch publisher, best known for publishing old master prints, which he also produced as designer and engraver. He is especially known for his reproductive engravings of paintings.
As a resident of Antwerp, Galle witnessed numerous events of the Eighty Years War, notably the siege and looting of the town in 1576 by the Spaniards, called "The Spanish Fury". This rather personal book, which was translated in several languages soon after its first publication, shows Galle as a peace-loving person who intended to stay far away from the political and military turmoil of his era.
Hendrick Goltzius was a German-born Dutch printmaker, draftsman, and painter. He was the leading Dutch engraver of the early Baroque period, or Northern Mannerism, lauded for his sophisticated technique, technical mastership and "exuberance" of his compositions. According to A. Hyatt Mayor, Goltzius "was the last professional engraver who drew with the authority of a good painter and the last who invented many pictures for others to copy". In the middle of his life he also began to produce paintings.
Joris Hoefnagel or Georg Hoefnagel was a Flemish painter, printmaker, miniaturist, draftsman and merchant. He is noted for his illustrations of natural history subjects, topographical views, illuminations and mythological works. He was one of the last manuscript illuminators and made a major contribution to the development of topographical drawing. His manuscript illuminations and ornamental designs played an important role in the emergence of floral still-life painting as an independent genre in northern Europe at the end of the 16th century. The almost scientific naturalism of his botanical and animal drawings served as a model for a later generation of Netherlandish artists. Through these nature studies he also contributed to the development of natural history and he was thus a founder of proto-scientific inquiry. Hoefnagel was a very versatile artist. He is known for his landscapes, emblems, miniatures, grotesques, topographical drawings, genre scenes, and mythological and allegorical drawings and paintings. Part of Hoefnagel's artistic works was kept by Constantijn Huygens his nephew. These works were seen by Dutch artists and exercised an important influence on the development of Dutch still life and naturalist art.
Frans Hogenberg was a Flemish and German painter, engraver, and mapmaker. He is known for portraits and topographical views as well as historical allegories. He also produced scenes of contemporary historical events. Hogenberg was the author of graphic works, engravings of city views and maps of the first four volumes of the six-volume atlas Theatrum Orbis Terrarum (Description and drawings of the most famous cities in the world), published in 1570 by the Flemish geographer Abraham Ortelius. Hogenberg's engravings are an invaluable source of information about urban development in medieval Europe.
Hendrik Hondius I was a Flemish-born and trained engraver, cartographer, and publisher who settled in the Dutch Republic in 1597. Hondius was apprenticed in Brussels to Godfried van Ghelder, goldsmith to Alexander Farnese, Duke of Parma. He also studied drawing with the engraver Jan Wierix of Antwerp. At this time he started to study engraving. He applied himself to mathematics and studied perspective, architecture and the construction of fortifications. He moved to The Hague by 1597. He obtained his first print privilege for a portrait of Prince Maurits. He dedicated himself to his engraving practice. His work was very well received and he got commissions from many eminent personalities for engravings or drawings. He turned more to publishing rather than engraving and printing in the 1630s. His publications were mainly maps, books about fortifications and official portraits.[5] He also reused original plates and blocks by earlier artists for reprinting and such reprints represented almost a third of his publishing output. In the 1640s he returned to printing concentrating exclusively on etching. One of the most important publications of Hondius was the work Pictorum aliquot celebrium praecipue Germaniae inferioris Effigies (Effigies of some celebrated painters, chiefly of Lower Germany) of 1610, which was a collection of 69 portraits of mainly Netherlandish artists.
Daniel Hopfer the Elder was a German artist who is widely believed to have been the first to use etching in printmaking, at the end of the fifteenth century. He also worked in woodcut. Although his etchings were widely ignored by art historians for years, more recent scholarship is crediting him and his work with "single-handedly establishing the salability of etchings" and introducing the print publisher business model.
Unlike most later prints, etched on copper plates, Hopfer's printed etching continued to use the iron plates he was used to working with in steel plate armour, the material he was trained in, and with which he continued to work.
Wolfgang Huber was an Austrian and German painter of the first half of the 16th century, a representative of the Northern Renaissance. He is known as a master of landscape, a representative of the Danubian School, who practiced drawing, painting, architecture and wood engraving.
Huber was famous for his landscape pen drawings, which were valuable works of art at the time. In his later works on religious and portrait subjects, the landscape background also played an important role. He created about thirty paintings and also participated in large projects, including a sketch of the Triumphal Arch of Emperor Maximilian I. His main work is considered to be the altar of St. Anne, created for the church in the Feldkirche.
Dirck Jacobsz was a distinguished Dutch Renaissance painter, known for his contributions to the Dutch Golden Age of painting. Born into a lineage of artists, Jacobsz honed his skills under the guidance of his father, Jacob Cornelisz van Oostsanen, before establishing his own reputation in the art world. The influence of Jan van Scorel, a fellow Amsterdam painter, is evident in Jacobsz's Mannerist style, contributing to his unique artistic expression.
Jacobsz's legacy includes notable works that have been celebrated for their historical significance and craftsmanship. Among these, "The Crossbowmen" (1529) stands out as his most important piece, marking a pioneering moment in Dutch history as the first militia portrait. This work, along with his other group portraits of civic guards, showcases Jacobsz's exceptional talent in capturing the essence of his subjects, contributing to the rich tapestry of Dutch Renaissance art.
His artistic journey was deeply rooted in his family's legacy, with both his brother Cornelis and his son Jacob Dircksz continuing the tradition of painting. This continuation of the artistic profession within the family underscores the significance of the Jacobsz lineage in the Dutch art scene. Dirck's work, deeply influenced by his surroundings and the prevailing styles of his time, encapsulates the transition of artistic identity through generations, reflecting both personal and societal narratives.
Dirck Jacobsz's contributions to the world of art are commemorated through his works housed in various museums, including the Amsterdam Museum, which showcases his militia paintings and the portrait of Pompejus Occo. These pieces not only highlight Jacobsz's skill and versatility as a painter but also offer insights into the social and cultural contexts of the Dutch Renaissance.
For collectors and experts in art and antiques, Dirck Jacobsz remains a figure of interest for his historical significance and the quality of his work. To stay informed about new discoveries, sales, and auction events related to Dirck Jacobsz, consider signing up for updates from art galleries and auction houses. This will ensure you have access to the latest information and opportunities to acquire works by this renowned Dutch Renaissance painter.
Andrea Mantegna was an Italian painter and engraver, celebrated as the first fully Renaissance artist of northern Italy. Born in 1431 near Vicenza, Mantegna emerged from Francesco Squarcione's Paduan school, distinguishing himself early on with his mastery in painting and his innovative use of perspective. His departure from Squarcione's workshop at a young age to establish his own marked the beginning of a prolific career that would influence the course of Renaissance art.
Mantegna's work is renowned for its dramatic use of perspective and detail, which he applied with meticulous care to both religious subjects and classical themes. His groundbreaking fresco cycle in the Ovetari Chapel, though largely destroyed during WWII, showcased his early mastery of perspective, a technique that would become a hallmark of his style. This early work helped establish his reputation, leading to significant commissions such as the Camera degli Sposi in Mantua's Ducal Palace, completed in 1474, which delighted visitors with its illusionistic space and detailed portraits of the Gonzaga family.
One of his most famous works, the Triumph of Caesar, consists of a series of nine canvases that depict Julius Caesar's victorious return to Rome. These panels, celebrated for their detailed portrayal of the Roman triumph, are now housed in Hampton Court Palace in London. Mantegna's meticulous attention to classical detail and his ability to convey narrative through art have made these works stand out in the history of Renaissance painting.
His exploration of perspective reached a zenith in works such as the Lamentation of Christ, where the use of foreshortening to depict Christ's body laid out for the viewer demonstrated Mantegna's skill in manipulating visual perception for dramatic effect. This piece, along with other later works like the Madonna of Victory and the paintings for Isabella d'Este's private chambers, showcase Mantegna's continuous evolution as an artist and his influence on subsequent generations.
Mantegna's legacy extends beyond his paintings; his engravings were highly valued for their detail and technical execution, influencing artists such as Albrecht Dürer. His draughtsmanship and innovative compositions in both painting and engraving marked a significant contribution to the Italian Renaissance, blending classical themes with the emerging humanist philosophy of the time.
For collectors and experts in art and antiques, Mantegna's works offer a fascinating insight into the transition from medieval to Renaissance art, characterized by an increased emphasis on humanism, perspective, and a revival of classical antiquity. His paintings and engravings not only depict the cultural and intellectual zeitgeist of his era but also demonstrate his technical prowess and creative vision.
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Master MZ was an engraver active in south Germany around 1500. He signed his 22 engravings with his monogram "MZ", and six are dated, all 1500, 1501 or 1503. He worked in Munich in Bavaria, and in 1500 seems to have been connected to the court of Albert IV, Duke of Bavaria.
Andrea Meldolla (Schiavone) was an Italian Renaissance painter and etcher, born in present-day Croatia, active mainly in the city of Venice. His style combined Mannerist elements, a relative rarity in Venice, with much influence from the mainstream of Venetian painting, especially Titian.
Simon Novellanus was a Dutch-born German artist, graphic artist and engraver who worked in Cologne in the second half of the 16th century.
He is known to have been a skilled engraver and collaborated with cartographer and engraver Franz Hogenberg in the production of books and atlases. Novellanus's sprawling, multi-layered landscapes are executed in a light and varied etching technique that creates intense light and atmosphere.
Hans Jakob Nüscheler the Elder was a Swiss painter, graphic artist and engraver. He was also a highly sought-after stained glass artist. Nüscheler the Elder's clients included the Pope, his envoys and influential locals.
The master's work can be found in various museums in Switzerland.
Jacopo Palma the Elder, born in 1480, was an illustrious Italian painter whose work left an indelible mark on the Venetian Renaissance. Renowned for his vibrant colors, dramatic compositions, and adept storytelling, Palma the Elder was a master of both religious and secular themes, embodying the splendor of Venice in his canvases.
Known for his profound influence on the development of Venetian painting, Palma's art is celebrated for its dynamic use of light and shadow, a characteristic that would come to define the Venetian style. His ability to infuse scenes with emotional depth and realism drew viewers into his narratives, making his works compelling for both contemporary audiences and modern viewers.
Among his most notable works are his altarpieces, which grace many of Venice's storied churches, showcasing his skill in depicting sacred subjects with reverence and majesty. His portraits and mythological scenes are equally esteemed, housed in some of the world's most prestigious museums and galleries. These pieces not only highlight his technical prowess but also his versatility as an artist.
For collectors and experts in art and antiques, Jacopo Palma the Elder represents a pivotal figure whose contributions to the Renaissance continue to captivate and inspire. His paintings offer a window into the rich cultural and artistic milieu of early 16th-century Venice, making them highly sought after for their beauty and historical significance.
To discover more about Jacopo Palma the Elder and to stay updated on opportunities to view or acquire his works, signing up for updates is a must. This subscription will ensure you're informed about the latest exhibitions, sales, and auctions related to this master's oeuvre, enriching your understanding and appreciation of Venetian art.
Iacopo Negretti, best known as Jacopo or Giacomo Palma il Giovane or simply Palma Giovane ("Young Palma"), was an Italian painter from Venice and a notable exponent of the Venetian school. After Tintoretto's death (1594), Palma became Venice's dominant artist perpetuating his style. Outside Venice, he received numerous commissions in the area of Bergamo, then part of the Venetian Domini di Terraferma, and in Central Europe, most prominently from the connoisseur emperor Rudolph II in Prague. Rejecting Mannerism in the 1580s, he embraced a reformist naturalism.[6] He varied the ingeniously synthesised amalgam according to subject matter and patrons' own eclectic and conservative tastes, with "virtuoso skill and a facile intelligence". Palma il Giovane went on to organize his own, large studio which he used to produce a repetitive series of religious and allegorical pictures that can be found throughout the territory of the Venetian Republic.
Parmigianino, an Italian Mannerist painter born Girolamo Francesco Maria Mazzola, was a pivotal figure in the development of the Mannerist style, known for his sophisticated and elegant approach to painting. He was a leading figure in Parma's art scene following Correggio and had a significant influence on the artistic developments during the post-High Renaissance period through his expressive and stylish works.
Parmigianino's journey as an artist took him from Parma to Rome and then to Bologna, with his last years spent in Parma. His works, including the renowned "Madonna with the Long Neck," display a unique blend of grace and elegance, coupled with an idiosyncratic use of elongation and distortion, typical of Mannerist aesthetics. This painting, in particular, is noted for its unusual composition and the elongation of figures, embodying the Mannerist style's departure from the proportional norms established during the Renaissance.
He was also an early Italian etcher, utilizing this technique to express the spontaneity of an artist's hand. His etchings and drawings had a considerable influence on printmaking and the visual arts in Italy and Europe. In addition to his paintings, Parmigianino's contributions to the arts include his work in the church of the Steccata in Parma and his innovative approach to integrating painting with architectural elements.
For art collectors and experts, Parmigianino's work represents a critical link between the High Renaissance and the emergence of Baroque and Rococo styles, offering a unique insight into the evolution of European art. His works continue to be celebrated for their originality and mastery, making him a subject of enduring interest in the study of art history.
For those interested in exploring Parmigianino's contributions to art further, subscribing to updates from art institutions or platforms specializing in Renaissance and Mannerist art could provide valuable insights into his life, works, and ongoing exhibitions or sales of his artworks.
Georg Pencz was a German painter and engraver born in Nuremberg in 1500. He studied art under Albrecht Dürer and then moved to Italy, where he joined the Raphael school and studied engraving under Marcantonio Raimondi. He returned to Germany in 1528.
Most of the paintings painted by Georg Penz have allegorical and genre content, as well as portraits with good drawing and a warm, clear colouring. His work bears the hallmarks of the Raphael School, but is not a blind imitation of Raphael's work.
He is also famous for his engravings, having produced 126 prints which show the influence of the Italian Renaissance on his work rather than the German's pictorial creations. Some of his best-known works include Cupid and Venus (Munich Pinakothek), St Hieronymus (Stuttgart Museum Staatsgalerie Stuttgart) and Crucifixion (Vienna Gallery).
Luca Penni was an Italian painter, draughtsman and printmaker, nicknamed Romano (Roman).
Luca was the younger brother of Raphael's first assistant, Giovanni Francesco Penni (1488/1496-1528), and must have originally studied under his brother in the environment of Raphael's studio. After Raphael's death, Luca worked in Genoa, then traveled to England, in the service of King Henry VIII, before leaving for France around 1530.
At Fontainebleau, together with French painters, Penni worked on the decoration of the royal palace and became one of the most respected artists there. His work had a marked influence on sixteenth-century French painting and was reproduced by Italian engravers. Penni also produced many designs for engravers including Leon Davent, Etienne Delon and Giorgio Ghisi, as well as for tapestries and stained glass.
The work of the first generation of Italian masters in France, mostly pupils and followers of Raphael, is called the "first school of Fontainebleau", and Luca Penni is a prominent representative of it.
Antón Pizarro was a Spanish painter and printmaker, renowned for his significant contribution to the 'Tenebrismo Toledano' style, a term referencing the distinct use of dramatic illumination in Toledo's art scene. Born around 1552 and active until his death in 1622, Pizarro's life was deeply intertwined with the artistic currents of Toledo, a city that shaped his unique style.
Pizarro's oeuvre, though not extensively documented, reflects the influence of his contemporaries and the broader artistic movements of his time. His works, such as the 'Institución de la Orden Trinitaria por Inocencio III en 1190', showcased at Madrid's prestigious Museo del Prado, highlight his mastery in handling religious themes with a characteristic blend of realism and emotional depth. This particular work, along with others like the 'Nacimiento de la Virgen' and the 'Presentación de la Virgen', reveal a style that balances between Mannerist influences and an early inclination towards naturalism.
Interestingly, his approach to portraiture, as seen in 'Caballero con su hijo', presents a nuanced use of light and shadow, possibly hinting at El Greco's influence. This piece, alongside his contributions to printmaking, such as the illustrations for 'El glorioso San Ildefonso', underlines Pizarro's versatility across different mediums.
For art collectors and experts, Pizarro's work represents a fascinating intersection of Mannerist and early Baroque tendencies. His paintings, characterized by elongated proportions and a warm color palette, not only embody the artistic spirit of Toledo in the late 16th and early 17th centuries but also offer a window into the transitional phase of Spanish art.
If you're keen to explore more about Antón Pizarro's works or stay informed about upcoming sales and auction events related to this remarkable artist, we invite you to sign up for our updates. Our focus remains on bringing to light the works of such historical figures, ensuring that enthusiasts and collectors are always in the loop.
Bernardino Poccetti also known as Barbatelli, was an Italian Mannerist painter and printmaker of etchings. He was initially trained as a decorator of facades and ceilings, enrolling in 1570 in the Florentine painters guild for such work. In 1592–93, he worked on frescoes in the Certosa di Galluzzo relating to Life and Death of San Bruno. He painted scenes from the life of founder of the Convent of the Servites for the Annunziata. In his later works, he is considered one of the Florentine reformers—the so-called Counter-Maniera (Counter-Mannerism).
Camillo Procaccini was an Italian painter. He has been posthumously referred to as the Vasari of Lombardy, for his prolific Mannerist fresco decoration. He was the son of the painter Ercole Procaccini the Elder, and older brother to Giulio Cesare and Carlo Antonio, both painters.
Marcantonio Raimondi, also Marcantonio Francia, was an Italian draftsman and copper engraver. He authored more than 300 engravings of Renaissance artworks, including paintings by Raphael and ancient monuments such as architecture, vases and ornaments.
Marcantonio spent his childhood years in Bologna, but little is known of his mother and father's family. The artist was called "Marco Antonio Bolognese". According to Giorgio Vasari, Marcantonio spent some time in France, as his monogram "MAF": Marcantonio Francia confirms. Later he travelled between Venice, Florence and Rome. Influences of the French style can be seen in his works.
His work on the works of Raphael led Marcantonio to collaborate with Giulio Romano, who first commissioned from him a series of images taken from The Histories of Venus, Apollo and Hyacinth and The Histories of Magdalene and the Four Evangelists. Sixteen engravings, based on drawings by Giulio Romano, of Pietro Aretino's love sonnets and containing an erotic subject, were called "Poses of Aretino".
Guido Reni was an Italian Baroque painter, celebrated for his refined and classical approach to art. Born in Bologna, Italy, Reni's career spanned the late Renaissance and early Baroque periods, where he became known for his religious and mythological scenes. His style, characterized by elegance and grace, set him apart from his contemporaries, making his works highly sought after by both religious and secular patrons.
Reni's training under Denys Calvaert, followed by his time in the Carracci workshop, laid the foundation for his distinctive blend of classical idealism and Baroque dynamism. This education, coupled with his interactions and reported rivalry with Caravaggio in Rome, influenced his development as an artist who could balance the dramatic intensity of the Baroque with a serene classicism.
One of Reni's most famous works, the fresco "Aurora" in the Casino dell'Aurora of Palazzo Pallavicini-Rospigliosi, showcases his mastery of classical forms and his ability to convey narrative through expressive composition and vibrant color. This masterpiece, depicting Apollo's chariot led by Dawn, is celebrated for its simplicity and restraint, contrasting the more elaborate compositions typical of his era.
Reni's contributions to religious art are also significant, with works such as "The Archangel Michael Defeating Satan" and "Saint Joseph and the Christ Child" reflecting his capacity to imbue traditional Christian subjects with a profound sense of divinity and humanity. His paintings are distinguished by their delicate treatment of light and shadow, a hallmark of his refined aesthetic.
Collectors and art experts continue to admire Reni's works for their technical brilliance and emotional depth. His paintings, such as "The Massacre of the Innocents" and "Saint Sebastian," are preserved in major museums worldwide, testament to his enduring influence on Western art. Reni's legacy as a bridge between the Renaissance's ideal beauty and the Baroque's emotive power remains unparalleled, securing his place among the pantheon of great artists.
For collectors and experts in the field of art and antiques, Guido Reni's oeuvre represents not just the pinnacle of Baroque painting but also a connection to the cultural and aesthetic shifts of his time. To stay updated on sales, auctions, and exhibitions related to Guido Reni's works, signing up for updates can provide exclusive insights and opportunities to engage with the legacy of this exceptional artist.
Cristoforo Roncalli was an Italian mannerist painter. He was one of the three painters known as Pomarancio or Il Pomarancio. Most of his fresco work was in Rome, though he worked for a decade in Loreto, where he decorated the New Sacristy.
