Engravers 17th century
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.
Pietro Aquila was an Italian painter and printmaker of the Baroque period. He was born in Palermo. He mentored his nephew, the printmaker Francesco Faraone Aquila. He trained at the school of Palermo painter and engraver Pietro del Po and worked, like a teacher, first at home, in Palermo, then in Naples and Rome, where he pursued the ecclesiastical career. For his paintings that he left in Palermo in the church of the Pietà (Parabola del Figlio Prodigo, Abraham and Melchizede) and in the cloister of S. Maria delle Vergini (S. Benedetto), as well as some frescoes in the Chapel of the Rosary in S. Cita, he gained the status of "respectable painter", loyal to the Raphaelesque tradition. But Aquila established himself first and foremost as a copper engraver, dedicating himself to the distribution and popularization of many of the most remarkable paintings with the help of which the sacred and profane buildings of Rome were adorned at that time. He made engravings after the works of different artists that were dear to him including: Raphael before any other, and then Annibale Carracci, Pietro da Cortona, Giovanni Lanfranco, Lazzaro Baldi, Ciro Ferri, Morandi, Franceschini, and finally Carlo Maratta, who was bound to him by a close friendship.
Francesco Faraone Aquila was an Italian engraver. In 1690 he moved to Rome where his brother Pietro had been an engraver for several decades in major workshops in the capital. Pope Clement XI gave him an order which has remained his main work - engraving the bas-reliefs of the Antoninus Pius column and its pedestal. Another important work by Francesco Aquila is the engraving of the frescoes of the dome of the Cathedral of Parma by Correggio and the painting of the Vatican chambers. Following the antique taste established in the 18th century, Aquila engraved various Roman classical works: statues, vases and triumphal arches, thus satisfying the demand of mainly foreign visitors, mainly German and English. His portraits of his contemporaries, both painters and clergymen, also enjoyed great popularity.
Elias Baeck called "Heldenmuth", was a German painter and engraver from Augsburg. Baeck worked for some time in Rome, then in Laybach, but finally returned to Augsburg, where he died in 1747. His chief works — both in painting and engraving — were portraits and landscapes. His engravings are sometimes signed "E.B.a.H.", standing for "Elias Baeck, alias Heldenmuth".
Ludolf Bakhuizen was a Dutch painter of the 17th and early 18th centuries. He is known as an outstanding master of seascapes. Bakhuizen also painted biblical themes and portraits of his contemporaries as well as engravings and miniature models of ships.
Ludolf Bakhuizen is considered one of the best marine painters of the Golden Age of Dutch painting. Among the admirers of his work were many influential European rulers, including the Russian Tsar Peter the Great. The master met Peter I, who visited Amsterdam in the mid-1690s and, according to contemporaries, even managed to give some painting lessons to the Russian tsar. In addition, Вakhuizen made models of all kinds of ship designs on commission from Peter the Great.
Toward the end of his life, the Amsterdam authorities honored Bakhuizen by opening his own gallery on the top floor of the City Hall for his achievements in the fine arts. The best masterpieces of his work are now preserved in museums in the Netherlands, Germany, England, France, and Italy.
Giovanni Battista Beinaschi, an Italian painter and fresco artist of the Baroque era, was born in 1636 and left an indelible mark on the art world before his death in 1688. Renowned for his dynamic compositions and vibrant use of color, Beinaschi's work epitomizes the grandeur and emotive power of Baroque art, reflecting the period's cultural and artistic aspirations.
Beinaschi's contributions to art are notable for their intricate details, dramatic use of light and shadow, and the emotional intensity of the figures portrayed. His mastery in fresco and oil painting allowed him to create expansive religious narratives and intimate portraits alike, each brimming with life and depth.
Among his celebrated works, those housed in esteemed museums and galleries across Europe serve as testaments to his skill and creativity. Beinaschi's frescoes, in particular, are admired for their architectural harmony and the seamless integration of figures into their surroundings, showcasing his innovative approach to spatial composition.
For collectors and experts in art and antiques, Giovanni Battista Beinaschi's paintings are more than just visual delights; they are windows into the soul of the Baroque period. His ability to convey complex emotions and spiritual themes through art makes his works highly sought after and revered in the history of painting.
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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.
Nicolaes Pieterszoon Berchem was a highly esteemed and prolific Dutch Golden Age painter of pastoral landscapes, populated with mythological or biblical figures, but also of a number of allegories and genre pieces.
He was a member of the second generation of "Dutch Italianate landscape" painters. These were artists who travelled to Italy, or aspired to, in order to soak up the romanticism of the country, bringing home sketchbooks full of drawings of classical ruins and pastoral imagery. His paintings, of which he produced an immense number, (Hofstede de Groot claimed around 850, although many are misattributed), were in great demand, as were his 80 etchings and 500 drawings. His landscapes, painted in the Italian style of idealized rural scenes, with hills, mountains, cliffs and trees in a golden dawn are sought after. Berchem also painted inspired and attractive human and animal figures (staffage) in works of other artists, like Allaert van Everdingen, Jan Hackaert, Gerrit Dou, Meindert Hobbema and Willem Schellinks.
Jan (Joan) Willemsz. Blaeu was a Dutch cartographer, publisher and judge.
Jan was born into the family of the cartographer and publisher Willem Janszoon Blaeu (1571-1638). He studied in Leiden, where he earned a doctorate in law, and in Padua. He then began to assist his father, who was engaged in the manufacture of globes and maps. After his father's death, Jan, together with his brother Cornelius, continued his work, and succeeded him as cartographer for the Dutch East India Company.
In 1651 Blaeu was elected to the Amsterdam city council and later appointed as a judge. At the same time, he was engaged in his publishing business: he continued to publish volumes of Atlas novus, which contained maps of English counties and, for the first time, an atlas of Scotland, as well as one volume of maps of the Far East.
Blaeu did not have time to complete his most ambitious project, but it made him famous as the author of the famous 11-volume Dutch atlas. Based on his previous maps, Blaeu created the Great Atlas (Atlas Maior) - it contained nearly 600 maps and a total of 3,000 pages of Latin text - and was published in 1662. Blaeu's maps were groundbreaking for their time because they were created in accordance with the heliocentric theories of Nicolaus Copernicus.
In 1672, a great fire in Amsterdam destroyed Blaeu's workshop, and the cartographer died a year later, apparently never recovering from this stroke of fate.
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.
Jacques Blanchard was a French painter and printmaker of the Baroque period.
Early in his career, Blanchard traveled to Rome, where he stayed until 1626, then lived in Venice and finally returned to Paris, where he was appointed royal painter.
Many of his works show the influence of the great Venetian masters of the 16th century, particularly Peter Paul Rubens. He created many canvases on religious and mythological subjects, as well as allegories. As a decorative artist, Blanchard did ceiling paintings at Versailles and the Trianon.
His son Louis-Gabriel Blanchard (1630-1704) was also a painter.
Thomas Blanchet, a distinguished French painter, sculptor, and architect, left an indelible mark on the Baroque era with his multifaceted talent. Blanchet's journey in art saw him transitioning from sculpture to painting under the guidance of Jacques Sarazin. His early years in Paris were enriched by the emerging Baroque influence and the Mannerism of the School of Fontainebleau, placing him among contemporaries like Simon Vouet.
Blanchet's formative years extended beyond French borders, as he ventured to Rome around 1645 to 1653. There, he immersed himself in the circle of Nicolas Poussin and visited the studios of Andrea Sacchi and Pietro da Cortona, earning high praise from Gianlorenzo Bernini. This period was marked by significant commissions, including works for Niccolò Guido di Bagno and the creation of engravings and mausoleums, notably in Venice for René de Voyer d'Argenson.
His repertoire was vast, encompassing classical themes, religious narratives, and architectural capriccios, as evidenced in works like "Time and Truth overcoming Envy and Discord" and "La Résurrection De Lazare". Blanchet's influence extended to Lyon, where he contributed to the city's cultural heritage through frescoes at the Collège de la Trinité, now Collège Ampère, and designed significant public and private spaces including the Palais de Roanne's grand chamber ceilings.
For collectors and experts in art and antiques, Thomas Blanchet's oeuvre represents a bridge between French and Italian Baroque, embodying the era's dramatic expressions and classical reverence. His works, found in both public spaces and museums, continue to be celebrated for their historical and artistic significance.
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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.
Luciano Borzone was an Italian painter of the late Mannerist and early Baroque periods, working mainly in Genoa. After an apprenticeship with Filippo Bertolotto, his uncle, Duke Alberigo of Massa Lunigiana, patronised his work as a pupil of Cesare Corte.
Luciano Bordzone was an outstanding portrait painter. In Genoa he painted the Purification for the church of San Domenico and the Baptism of Christ for the church of Santo Spirito.
Jan Dirksz Both was a distinguished Dutch painter, draughtsman, and etcher renowned for his pivotal role in the evolution of Dutch Italianate landscape painting. His journey into the arts began in Utrecht, learning from his father before becoming a pupil of Abraham Bloemaert. Both's career took a significant turn when he, alongside his brother Andries, ventured to Rome, absorbing the influence of Claude Lorrain and contributing to projects such as the Buen Retiro Palace in Madrid.
By the mid-1640s, Jan had returned to Utrecht, further honing his craft to produce expansive landscapes illuminated by a Mediterranean glow, notable for their mixture of realism in the foreground against idyllic backgrounds. Noteworthy pieces include "Landscape with Bandits Leading Prisoners" and "Judgement of Paris," showcasing his mastery in blending naturalistic details with mythological and religious figures. His landscapes, characterized by their golden light and imaginative vistas, earned him a place among the leading masters of the Italianate trend in Dutch landscape painting.
Jan Both's legacy is preserved in prestigious collections worldwide, including the Fitzwilliam Museum, the Hermitage, the Kunsthistorisches Museum, the Louvre, and the National Gallery, among others. His work reflects a significant Italian influence merged with his native Dutch sensibilities, marking him as a key figure in the 17th-century art scene.
For collectors and experts in art and antiques, Jan Dirksz Both's oeuvre offers a fascinating glimpse into the blend of Dutch and Italian influences that characterize the Italianate landscape painting tradition. His contributions not only enriched Dutch art but also provided a bridge between the Renaissance and Baroque periods, capturing the beauty of landscapes with a unique, poetic light.
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André-Charles Boulle, a French artist and cabinetmaker, was celebrated for his mastery in marquetry, a decorative technique involving inlaid veneers of wood, metal, and tortoiseshell. Born in Paris in 1642, Boulle's work defined luxury and sophistication in 17th and 18th-century French furniture, earning him the title of "Premier ébéniste du Roi" under Louis XIV. His contributions to art and culture extend beyond mere craftsmanship, embodying the opulence of the Louis XIV style and influencing European decorative arts profoundly.
Boulle's innovative techniques, particularly his unique use of marquetry, known as "Boulle work," involved intricate patterns of brass, pewter, and tortoiseshell, setting new standards for furniture design. This approach allowed him to create stunning visual effects, with his creations including clocks, cabinets, and tables that showcased both artistic flair and technical brilliance. His work, characterized by elaborate motifs and an exceptional blend of materials, is regarded as the epitome of Baroque artistry, blending sculpture, painting, and architecture into functional objects of beauty.
Several of Boulle's masterpieces are preserved in prestigious museums, such as the Louvre and the Palace of Versailles, where they continue to captivate visitors with their intricate details and historical significance. Notable works attributed to him, like the intricate coffers on stands and monumental cabinets housed in the J. Paul Getty Museum, reflect his role as a "painter in wood," celebrating French military victories and the grandeur of the Sun King's court. These pieces, never signed but attributed to him based on stylistic elements and historical records, highlight Boulle's innovative use of materials and his impact on the decorative arts.
For collectors and experts in art and antiques, André-Charles Boulle's work represents the zenith of French decorative arts. His legacy is not only in the beauty of his creations but also in the techniques he perfected, which continue to inspire contemporary designers and craftsmen. Those interested in the elegance and history of Boulle's work are encouraged to sign up for updates on new product sales and auction events related to this iconic artist. This subscription offers a unique opportunity to connect with the world of André-Charles Boulle, ensuring enthusiasts are informed of the latest discoveries and offerings that celebrate his enduring influence on culture, art, and design.
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.
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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Jacques Callot was a baroque printmaker and draftsman from the Duchy of Lorraine (an independent state on the north-eastern border of France, southwestern border of Germany and overlapping the southern Netherlands). He is an important person in the development of the old master print. He made more than 1,400 etchings that chronicled the life of his period, featuring soldiers, clowns, drunkards, Gypsies, beggars, as well as court life. He also etched many religious and military images, and many prints featured extensive landscapes in their background.
Alonso Cano was a multifaceted Spanish artist, renowned for his remarkable contributions in painting, sculpture, and architecture. Born in Granada in 1601, Cano is often celebrated as the "Spanish Michelangelo", a testament to his diverse artistic talents and significant impact on the Baroque era. His career, marked by a blend of Italian Mannerism and Baroque style, was a journey through various Spanish cities, each phase contributing uniquely to his artistic evolution.
In Seville, Cano trained under Francisco Pacheco, where his initial works like "San Francisco de Borja" (Seville Museum of Fine Arts) displayed a blend of Tenebrism and a brighter, more lyrical color palette. This period also saw the birth of works like "La Visión de San Juan" (Wallace Collection, London), signaling a transition in his style. Madrid, however, marked a significant turn in Cano's career. His works for the Buen Retiro Palace and the Alcázar showcase an evolution towards elegant, dynamic Baroque forms with lighter tonalities, influenced by the 16th-century Venetian masters.
Cano's return to Granada in 1652 was a homecoming that not only reinvigorated the Granada School but also marked his most prolific period. His masterpieces during this time include the series of paintings on the life of the Virgin in Granada Cathedral, a remarkable testament to Baroque art. Notably, his "Inmaculada Concepción" (1648) and "Nacimiento de la Virgen" (1663-1664) in the Cathedral stand as crowning achievements of his painterly career.
Equally impressive is Cano's sculptural work, where his polychrome wooden statue of the Immaculate Conception (1655) in Granada Cathedral is often hailed as his magnum opus. Despite sculpture being a secondary focus to his painting, his works, such as the Inmaculada in San Julián Church, Sevilla, and the smaller, yet exquisitely crafted, Inmaculada of the facistol in Granada Cathedral, resonate with the delicate beauty pointing towards Rococo art.
Cano's architectural prowess is exemplified in the design of Granada Cathedral's façade, an original piece of Spanish Baroque architecture. His artistic journey was not just a personal endeavor but a pivotal influence in the transition of Spanish painting towards a more idealist trend alongside Velázquez.
For art collectors and experts, Alonso Cano's works remain a cornerstone of the Baroque era, showcasing a blend of dramatic realism and spiritual depth. His influence extends beyond the boundaries of Granada, leaving an indelible mark on the world of art and culture.
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Simone Cantarini, an Italian painter and etcher, is renowned for his significant contributions to Baroque art. His early artistic journey was shaped by local naturalism and Venetian influences, notably under Giovanni Giacomo Pandolfi and Claudio Ridolfi. Cantarini's work is distinguished by its blend of Bolognese classicism and a keen naturalism, drawing inspiration from the likes of Federico Barocci, Guido Reni, and Caravaggesque artists like Orazio Gentileschi.
Simone Cantarini's oeuvre spans religious subjects, reflecting the Counter-Reformation's influence, to expressive portraits and dynamic etchings. His art, which shows a fascination with light and color, evolved towards a more personal style over time, moving away from academic classicism to embrace a more naturalistic and lyrical approach.
His works, such as "The Holy Trinity in Glory" and "The Rest on the Flight into Egypt," showcase his ability to infuse traditional themes with a fresh perspective and emotional depth. Simone Cantarini's legacy continues to be celebrated in various collections worldwide, where his masterful blend of classicism and naturalism remains a subject of admiration and study.
For collectors and experts in art and antiques, understanding Cantarini's artistic journey and the distinct qualities of his work offers valuable insights. If you're keen on staying informed about Cantarini's works, exhibitions, and auctions, consider subscribing for updates. This subscription will keep you abreast of new findings and opportunities related to Simone Cantarini's art, enhancing your collection and knowledge in this specialized field.
Bernardino Capitelli was an Italian painter and etcher of the Baroque period. Capitelli achieved the unique position of virtually the only tenebrist etcher in Italy. The use of abrupt contrasts of light and dark is characteristic of Capitelli's work.
Luca Carlevarijs was an Italian painter and engraver working mainly in Venice. He pioneered the genre of the cityscapes (vedute) of Venice, a genre that was later widely followed by artists such as Canaletto and Francesco Guardi.
Luca Carlevaris was an Italian painter and engraver working mainly in Venice. He pioneered the genre of the cityscapes (vedute) of Venice, a genre that was later widely followed by artists such as Canaletto and Francesco Guardi.
Giulio Carpioni was an Italian Baroque painter, etcher, and a significant figure in the early Baroque period, primarily associated with Venice and Vicenza. His artistic journey began under the mentorship of Alessandro Varotari, known as Il Padovanino. Carpioni's work was influenced by various artists and styles, including the realism and objectivity characteristic of Saraceni and Jean Leclerc, as well as Lombard painting, which he encountered during a trip to Bergamo.
Giulio Carpioni's oeuvre includes a mix of religious and mythological subjects, demonstrating a penchant for narrative and allegory, often depicted with a distinctive graphic line and a warm tonal palette. Noteworthy works include the Apotheosis of the Dolfin family and the Allegory of the Grimani Family, showcasing his ability to blend mythological themes with a vibrant expression of Baroque aesthetics.
His bacchanal scenes, such as the one described in a detailed analysis on the Museo Nacional Thyssen-Bornemisza's website, exhibit his skill in composition and use of color to create dynamic, engaging scenes. Giulio Carpioni's influence extended through his etchings and collaborative works, contributing significantly to the art culture of his time.
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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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Francesco Carracci was an Italian painter and engraver, and nephew of the more famous Agostino Carracci. Francesco was a youth of great talent and promise. He was taught by Lodovico, cousin of Agostino, in the Academy of the Incamminati, but left the school to start one in opposition to his teacher, calling it the "True School of the Carracci". Like the other members of the Carracci family he taught, engraved, and painted. His Adoration in the Church of Santa Maria Maggiore, Bologna, is not only his masterpiece but an excellent piece of vigorous painting. The "True School" was not a success, and, his students left him, Francesco went to Rome and made another attempt to found an academy, only to fail again. He left a few engravings after the works of Lodovico and Annibale Carracci.
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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Giovanni Benedetto Castiglione or Il Grechetto was an Italian Baroque painter, draftsman and printmaker.
He is one of the prominent representatives of the Genoese school, working at various times in Genoa, Venice and Rome. Castiglione is believed to be the author of monotype, a type of graphic art and a technique of printmaking that is not engraving.
Castiglione was a versatile and prolific painter, while working in a wide variety of styles that he studied carefully. His paintings pay tribute to Rubens, Van Dyck and Bernardo Strozzi, who worked in Genoa, and his etchings pay tribute to Rembrandt. Castiglione painted expressive portraits, historical and religious works and landscapes, and excelled in rural scenes with animals.
Guillaume Chasteau was a French engraver known for his portraits of Popes and prints after Nicolas Poussin and Italian painters. He received instruction from Greuter and studied under Cornelis Bloemaert before traveling to Italy for further improvement. Chasteau's engravings showcased both the graver and point techniques, although it is lamented that he did not consistently follow a more picturesque and free style. He became an academician in 1663.
Antoine Coypel was a French painter, known for his versatile and eclectic style, which blended the French classical tradition with influences from Pieter Paul Rubens and the Roman Baroque. His career flourished thanks to his role as a court painter and his positions within the French art world, including his tenure as a professor and director at the Académie Royale.
Antoine Coypel's artistry was evident in his ability to infuse classical subjects with a vibrant color palette and dynamic compositions, reflecting a transition in French painting towards a lighter 18th-century style. His notable works include "Democritus" at the Louvre and "Susan accused of adultery" at the Museo del Prado, demonstrating his range from philosophical figures to biblical narratives. Beyond painting, Coypel was also a master draughtsman, with many of his drawings preserved at the Louvre, showcasing his skill in figure studies and preparatory sketches.
Antoine Coypel's legacy extends through his family, with his son Charles-Antoine and half-brother Noël-Nicolas also being recognized painters. His works are held in esteemed collections globally, from the Louvre in Paris to the Metropolitan Museum of Art in New York, and continue to be celebrated for their artistic merit and historical significance.
For collectors and art experts, understanding Antoine Coypel's contributions provides valuable insights into the evolution of French art and the interplay between classical influences and personal creativity.
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Giuseppe Maria Crespi, an Italian Baroque painter from Bologna, was known for his unique contributions to genre painting, capturing scenes of everyday life with a distinct realism and humanism. His work diverged from the formal academic tradition, providing a more direct and immediate approach to his subjects. Crespi's artistry is evident in his kitchen scenes and domestic subjects, where he depicted the grittier aspects of daily life, often with a touch of darkness or irony, as seen in his paintings like "The Flea" and "Searching for Fleas".
Giuseppe Maria Crespi's style evolved through his studies, first with Angelo Michele Toni and then with more prominent artists like Domenico Maria Canuti and Carlo Cignani. He was particularly influenced by the Venetian color and brushwork, integrating these into his own Bolognese tradition, which he further enriched during his travels across Italy.
His contributions extended beyond his own works; Giuseppe Maria Crespi influenced a new generation of artists, including notable Venetians like Giovanni Battista Piazzetta and Pietro Longhi, and his sons Antonio and Luigi Crespi followed in his artistic footsteps.
For art collectors and enthusiasts, Giuseppe Maria Crespi's works offer a unique glimpse into the Baroque era's daily life, marked by his distinctive style and profound humanism. If you're interested in exploring more about Crespi's art and staying updated on related sales and auction events, consider subscribing for updates, ensuring a connection to this remarkable artist's legacy.
Aelbert Jacobsz. Cuyp was a Dutch Baroque painter, graphic artist and printmaker.
Aelbert is the successor of a dynasty of painters from Dordrecht. He was one of the leading Dutch landscape painters of the Dutch Golden Age. A pupil of his father, the painter Jacob Gerritsz. Cuyp (1594-1651), he is known primarily for his landscapes of the Dutch countryside in the light of early morning or late evening. But Aelbert Cuyp also painted canvases on biblical, mythological, and historical themes, still lifes, and portraits. The Italian style is evident in his works.
Justus Danckerts I was a Dutch engraver and print publisher who along with other members of the Danckerts family created one of the leading Dutch geographical map and atlas publishing houses. Justus Danckerts was the son of Cornelis Danckerts I (1603-1656), who established the Danckerts cartographic family business in Amsterdam. After producing in the early 1680s over 20 folio-sized atlas maps, he published in 1686-1887 the first Danckerts atlas. In 1690, another 26-sheet geographical atlas was published; between 1698 and 1700, a 60-sheet atlas was completed. Its map sheets and plates were used by various publishers until the middle of the 18th century.
Louis Licherie de Beurie was a French Baroque painter and engraver.
He was a member of the Royal Academy of Painting and Sculpture. De Beurie specialized in biblical and historical scenes and created images mainly for religious institutions.
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.
Marcus de Bye (sometimes spelt de Bie or de Bije) was a Dutch painter and engraver. He learnt to paint under Jacob van der Does, and produced some landscapes with animals in the style his teacher, but he is best known for his etchings of animals, after the designs of Paulus Potter and Markus Gerard II. Member of Confrerie Pictura.
Philippe de Champaigne was a French painter and engraver of Flemish origin, a major representative of the French Baroque school. He was one of the founders of the Royal Academy of Painting and Sculpture in Paris. Champaigne created a very large number of portraits of the high nobility, as well as paintings on religious themes.
Jacob de Gheyn III was a Dutch artist, painter and printmaker of the Golden Age.
He was the son of Jacob de Gheyn II, canon of Utrecht, engraver and graphic artist, a favorite royal artist who designed a garden in The Hague for the royal family. And his grandfather was a miniaturist and glass painter. De Gheyn learned etching from his father, then studied in Leiden with Constantin and Maurits Huygens. Thanks to his rich inheritance, he did not bother to work. After traveling to London and Sweden in 1620, Jacob de Gheyn III lived in The Hague and then moved to Utrecht, where he became a canon of St. Mary's Church and lived until the end of his life.
Jacob de Gheyn III patronized Rembrandt, who painted a portrait of him in 1632. This portrait has become famous in modern times for being mentioned in the Guinness Book of Records as the most frequently stolen painting and even bears the nickname "Rembrandt to take away".
Romeyn de Hooghe was a Dutch painter, sculptor, engraver and caricaturist of the late Baroque period, writer and philosopher.
Hooghe became famous for his political caricatures of King Louis XIV of France and propaganda pamphlets in support of William of Orange. He portrayed the war against the French monarch and his allies as a struggle between freedom and religious despotism.
Romeyn de Hooghe was a superb engraver and created over 3,500 engravings during his lifetime. His most important work is Hieroglyphica of Merkbeelden der oude volkeren (Hieroglyphics or Symbols of the Ancient Peoples), where he appeared not only as a consummate master of engraving, but also as a historian, talented writer and philosopher. This book has long been regarded in Europe as one of the most authoritative sources on classical mythology. It contains 64 engravings illustrating all stages of the narrative of myths, ancient cults and beliefs, and the interpretation of scripture, a guide to medieval Europe.
Romeyn de Hooghe also illustrated books and painted large panels. During his lifetime he was widely recognized as a painter and sculptor not only in his own country but also in other European countries.
Pieter de Molijn, a distinguished Dutch Golden Age painter and engraver, was celebrated for his exceptional landscapes, genre pieces, and more. Born in London in 1595 to Flemish parents, he moved to the Netherlands, where he significantly contributed to Dutch art. Molijn was not just a painter; his talents extended to engraving, a testament to his versatility in the art world.
Pieter de Molijn's journey into art took him to Italy and then to Haarlem, where he joined the Guild of St. Luke in 1616, marking the start of a prolific career. His landscapes, known for their sweeping diagonals and tonal unity, helped pioneer a new style that influenced contemporaries and successors alike. Molijn's ability to capture the essence of the Dutch landscape made his works sought after, not just during his lifetime but also in today's art circles.
His works, like the captivating "Landscape with Figures," showcased at The Metropolitan Museum of Art, continue to fascinate art enthusiasts and collectors. Pieter de Molijn's artistry wasn't confined to landscapes alone; his genre pieces and marine scenes also garnered acclaim, reflecting his diverse skills and innovative approach.
For art collectors and experts keen on Dutch Golden Age paintings, Molijn's works represent a blend of technical mastery and artistic vision. Whether it's his detailed landscapes or compelling genre scenes, each piece invites viewers into the world he saw and experienced.
For those who appreciate the finesse of Dutch Golden Age art, staying updated on Pieter de Molijn's works is a must. Whether it's auctions, exhibitions, or private sales, sign up for updates and never miss out on the opportunity to explore or acquire Molijn's timeless masterpieces.
Lucas de Valdés Carasquilla, a Spanish Baroque painter and engraver from Seville, born in 1661, was the third child of Juan de Valdés Leal. Influenced by his father's role in the painting guild, he began artistic endeavors early, creating his first known work at eleven. Alongside his siblings, he learned painting and engraving techniques in his father's workshop. Notably, he collaborated on assignments like adorning the Hospital de los Venerables' church. After formal education at San Hermenegildo College, he married the daughter of sculptor Francisco Dionisio de Ribas.
Lucas's prominence grew as his father's health declined. He completed various works, including murals, engravings, portraits, and more, reflecting influences from Murillo and others. His significant projects encompassed the murals in churches like the Hospital de los Venerables and the convent of San Pablo el Real. Around 1715, he painted the dome of the church at San Luis de los Franceses, then shifted to teaching mathematics at the Academy of Guardiamarinas in Cádiz from 1719, marking a decline in artistic output. He passed away in Cádiz on February 23, 1725.
Paul Decker the Elder was a German architect and engraver.
He created a series of copperplate engravings depicting designs for ideal princely and royal architecture, including palaces, fountain cascades, and gardens. Decker's work was published in three volumes (1711-1716) under the title Fürstlicher Baumeister oder Architectura Civilis.
Abraham Drentwett II the Elder was a German painter, goldsmith and engraver.
This master was one of the great Augsburg dynasty of Drentwett artists, numerous members of which worked primarily as gold and silver jewelers for the ruling courts of Europe from the 16th to 18th centuries.
Willem Drost was a notable Dutch Golden Age painter and printmaker known for his history paintings and portraits. His journey through the art world led him from his birthplace in Amsterdam to the vibrant cultural scene of Venice, where he spent his final years. Drost's work, particularly influenced by his time as one of Rembrandt's most gifted pupils, showcases a mastery of Baroque style, characterized by dramatic use of light and shadow, and a focus on realism and emotional depth.
Despite the relatively small number of works directly attributed to Drost, his legacy is significant, with several of his paintings having been mistakenly attributed to Rembrandt for centuries. This confusion underscores Drost's skill in emulating Rembrandt's style so closely that discerning between the master's and the pupil's work became a subject of scholarly investigation. Among Drost's known pieces, "Bathsheba" (1654), held at the Louvre, stands out for its sensuous portrayal of the biblical figure, showcasing Drost's ability to capture the nuanced interplay of light and shadow, as well as the psychological complexity of his subjects.
Drost's contribution to the Dutch Golden Age of painting is now more clearly recognized, with artworks such as "The Polish Rider," once thought to be by Rembrandt, suggested by some scholars as possibly being his work. While controversial, this reevaluation of Drost's contributions highlights the ongoing discussion about attribution within the art community and the importance of pupils in the studios of great masters like Rembrandt.
For collectors and experts in art and antiques, Willem Drost offers a fascinating glimpse into the world of the Dutch Golden Age, where the lines between master and pupil blur in the shared pursuit of artistic excellence. His works, housed in museums like the Ashmolean Museum in Oxford, the Metropolitan Museum of Art in New York City, and The Wallace Collection in London, continue to captivate audiences with their beauty and emotional depth.
To stay informed about new discoveries, sales, and auction events related to Willem Drost, signing up for updates from art galleries and auction houses is recommended. This ensures access to the latest information and opportunities to engage with the works of this remarkable artist who played a vital role in the legacy of the Dutch Golden Age.
Jacob Duck was a Dutch artist, celebrated for his etchings and paintings that vividly capture the essence of daily life, military scenes, and figures during the Dutch Golden Age. Born around 1600 in Utrecht, Jacob Duck initially trained as a goldsmith before turning his focus to painting, under the guidance of Joost Cornelisz Droochsloot. His journey took him from Utrecht to Haarlem and finally to The Hague, showcasing his adaptability and the breadth of his work across different Dutch cities.
Jacob Duck's artistry is distinguished by its intimate portrayal of soldiers and everyday scenes, marked by a keen observation of social interactions and the human condition. His works, housed in prestigious museums like the Hermitage Museum, underscore his significant contribution to art and culture, bridging the gap between the personal and the universal in the 17th century Dutch society.
One of his notable works, "A Couple in an Interior with a Fortune-Teller," housed at The Metropolitan Museum of Art, exemplifies Duck's unique approach to narrative in art. This painting diverges from the era's typical jovial depictions of fortune-tellers by presenting a scene charged with a palpable tension, reflecting Jacob Duck's ability to infuse his works with depth and complexity. The painting's intricate details and the backstory of its subjects further illuminate Duck's skill in blending storytelling with visual artistry, making him a pivotal figure in Dutch painting.
For collectors and art experts, Jacob Duck's oeuvre offers a fascinating glimpse into the Dutch Golden Age's socio-cultural landscape, characterized by a meticulous attention to detail and a profound understanding of human emotions. His legacy continues to captivate and inspire, underscoring the enduring relevance of his work in the realms of art and history.
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Karel Dujardin was a Dutch painter and printmaker of the Golden Age of Dutch painting.
He studied with Klaas Berchem and Paulus Potter, traveled to Italy, and lived in Lyon. In 1656 he participated in the founding of the Pictura Society in The Hague.
Dujardin painted mostly Italian landscapes, genre scenes, including scenes from rural life, portraits of elegant people and historical paintings.
Many of Dujardin's works are in the Louvre, the Hermitage (St. Petersburg), as well as in Amsterdam, The Hague, Kassel, and Berlin.
Louis Ferdinand Elle the Elder was a French portrait painter and printmaker.
Elle was a member of the Guild of St. Luke, but later became a founding member of the Academy of Painting and Sculpture in 1648. He worked all his life in Paris, was a court painter and painted portraits for aristocrats and representatives of the highest nobility, kings and cardinals.
He was the father of the painter Louis Ferdinand Elle the Younger (1648-1717).
Franz Ertinger (German: Franz Ertinger) was a French painter born in Germany but working in France and Flanders, a member of the Guild of St. Luke in Antwerp.
Ertinger is a versatile artist who has applied his talents in various fields of art. He is known as a painter, illustrator and printer of books, draughtsman, designer and writer, and worked as a royal engraver in Paris.
Cesare Fantetti was an Italian engraver.
Fantetti was born at Florence about the year 1660. He was apprenticed in Rome. He most likely worked out of one of the many shops that sprang up with the growth of the print market. Fantetti engraved several plates, after his own designs and those of other masters. Conjointly with Pietro Aquila, he engraved the plates from the paintings by Raphael in the Vatican, called Raphael's Bible, 37 of the series being executed by Fantetti, and the remainder by Aquila and some by Carlo Maratta.
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.
Marcantonio Franceschini was an Italian painter of the Baroque period, active mostly in his native Bologna. He was the father and teacher of Giacomo Franceschini.
His paintings have an academic and idealist strain, even for a member of the Bolognese School of Painting. The sparse figures are severely arranged and often porcelain in features. He worked with a younger colleague, Donato Creti. His style is often classified as Barochetto, a mixture of baroque and rococo; but it also could be said the neoclassical influence of French artists was beginning to overtake the baroque tradition. Wittkower describes him as the "Bolognese Maratta"
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.
To explore the mystery and beauty of Giuseppe Franco's art and to stay informed about potential discoveries, sales, and auction events related to his work, signing up for updates is recommended. This subscription ensures direct access to the latest information, catering specifically to enthusiasts of historic art and antiques.
Johann Jakob Frey the Elder was a Swiss engraver.
After learning the principles of design he went, when he was twenty-two years of age, to Rome, where he received some instruction from Arnold van Westerhout, and had afterwards the advantage of studying in the school of Carlo Maratti. His progress was rapid, and he was soon regarded as one of the ablest artists in Rome.
His drawing is correct and tasteful, and he was a perfect master of harmony and effeot. He etched his plates with spirit, and worked over the etching with a firm and masterly hand. His prints, which exceed the number of one hundred, are generally of a very large size.
Giovanni Battista Galestruzzi was an Italian painter and etcher of the Baroque period. He was a pupil of the painter Francesco Furini, then moved to Rome, where he joined the Accademia di San Luca in 1652. He was an accomplished etcher and produced works for Leonardo Agostini’s book 'Le gemme antiche figurate' (1657–9). The Roman baroque painter and engraver Giovanni Francesco Venturini was probably his pupil.
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.
Frans Geffels, known in Italy as Francesco Geffels (25 August 1624 – 18 February 1694) was a Flemish painter, printmaker, architect, stage designer and designer of ephemeral structures for solemn and festive occasions. After training in his native Antwerp, he was mainly active in Mantua, where he was prefetto delle fabbriche to the Duke, a role that gave him the direction of the artistic and construction activities undertaken by the Ducal court. He worked also on projects for the local aristocratic class of Mantua. In addition, he completed projects for the Liechtenstein princes and for the imperial court in Vienna.
He was both a canvas and fresco painter. He created portraits, history subjects, military scenes, architectural scenes and genre art, in particular merry companies. Geffels is mainly remembered as the designer of some of the key examples of Baroque architecture in Mantua.
Pierre Giffart was a French painter, printmaker and engraver.
He was a royal engraver and created lithographic works on a variety of subjects. One of Giffart's famous works are plates from original Chinese works brought from China by the envoy of King Louis XIV of France, Joachim Bouvet, depicting graceful Chinese figures in traditional and ceremonial dress. The first French edition of Beauvais's The Historical Portrait of the Emperor of China, with illustrations by Pierre Giffart, was published in Paris in 1697, and was subsequently translated and published in other languages.
