Graphic artists 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.
Cristofano Allori was an Italian painter of the late Florentine Mannerist school, painting mostly portraits and religious subjects. Allori received his first lessons in painting from his father, Alessandro Allori, but becoming dissatisfied with the hard anatomical drawing and cold coloring of the latter, he entered the studio of Gregorio Pagani. When still young he became a court portraitist for the Medicis, though many of his commissions were replicas of portraits by his predecessor Bronzino, or had participation by others.[citation needed. His pictures are distinguished by their close adherence to nature and the delicacy and technical perfection of their execution. His most famous work, in his own day and now, is Judith with the Head of Holofernes.
Federico Barocci, an Italian Renaissance painter and printmaker, was celebrated for his vibrant use of color and dynamic compositions. Born around 1533 in Urbino, Italy, a hub of Renaissance culture, Barocci's early life was steeped in the rich artistic heritage of the time. His training included an apprenticeship with his father, a sculptor, and later with notable artists such as Battista Franco Veneziano and Taddeo Zuccari.
Federico Barocci's work, known for its emotional intensity and use of light, positioned him as a critical link between the Mannerist style of the 16th century and the emerging Baroque period. His paintings often depicted religious scenes, imbued with a warmth and spirituality that resonated with viewers. His unique approach to color and composition had a significant influence on later artists, including the Baroque masters Peter Paul Rubens and Gian Lorenzo Bernini.
Despite suffering from chronic illness, possibly due to poisoning, Federico Barocci's output remained prolific and influential. His works can be found in several prestigious galleries, including the Uffizi in Florence, where his "Madonna del Popolo" and "Martyrdom of Saint Vitale" are displayed. These pieces, along with others like "The Deposition" in the Cathedral of Perugia and "Noli me Tangere" in Munich, showcase his mastery in portraying human emotion and divine radiance.
Collectors and experts in art and antiques will appreciate the depth and innovation of Federico Barocci's work. His legacy as a master colorist and draughtsman is undeniable, making his pieces a valuable addition to any collection.
To stay updated on sales and auction events related to Federico Barocci, sign up for our exclusive updates. This subscription ensures you're the first to know about new opportunities to acquire works connected to this remarkable artist.
Pieter Bruegel (also Brueghel or Breughel) the Elder (Dutch: Pieter Bruegel de Oude) was the most significant artist of Dutch and Flemish Renaissance painting, a painter and printmaker, known for his landscapes and peasant scenes (so-called genre painting); he was a pioneer in making both types of subject the focus in large paintings.
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.
Bernardo Castello (or Castelli) was an Italian painter of the late-Mannerist style, active mainly in Genoa and Liguria. He is mainly known as a portrait and historical painter. He was apprenticed under Andrea Semino and Luca Cambiaso, then travelled throughout Italy, meeting other painters and creating his own particular style. During his career he painted many works and was appreciated by famous poets with whom he had friendships. Beside working in Genoa, Castello was employed in Rome and worked also for the Duke of Savoy, Charles Emmanuel I.
Bartolomeo Cesi was an Italian painter and draftsman of the Bolognese School. He made easel paintings as well as frescoes. He is known mainly for his religious paintings but he also painted portraits and mythological scenes.
Gherardo Cibo also known by the alias of Ulisse Severini da Cingoli was an artist and a herbalist from Italy. The herbarium that he began in 1532 is the oldest surviving example of the method invented in Italy by his contemporaries and is preserved in Rome. His illustrations of plants show plants in the foreground with landscapes and details of people and places in the background.
Raphael Coxie was a Flemish Renaissance painter mainly known for his portrait and history paintings. Details about the life and career of the artist are sketchy. He was only rediscovered as a distinctive artist in the 19th century. He was a pupil of his father and became master in the Mechelen Guild of Saint Luke in 1562. Raphael was a passionate gardener and friend of the Flemish botanist Carolus Clusius to whom he sent drawings of flowers, which Clusius used in his scientific publications. He was active from 1586 in Brussels where he became a master of the local painter's guild in 1605. In the period 1588-89 he spent time in Ghent on a major commission for a painting of the Last Judgement. While in Ghent Coxie also painted a Resurrection of Christ for the monks of the Abbey of Drongen. He is recorded in 1597 as making, in collaboration with Gilbert van Veen, several portraits commissioned by Philip II of Spain.
Lucas Cranach the Elder was a pivotal figure in German Renaissance art. As a leading painter of Saxony, his influence spanned across the 16th century, making significant contributions through his paintings, woodcuts, and engravings. His artistic journey began under the tutelage of his father, Hans Maler, and saw him becoming court painter to the Elector of Saxony, where he produced a vast array of works including altarpieces, court portraits, and notably, portraits of Protestant Reformers.
Cranach's artistry was not confined to any single genre. He was renowned for his portraits of the aristocracy, deeply symbolic religious paintings, and engaging mythological scenes. His ability to capture the essence of the Protestant Reformation, notably through his portraits of Martin Luther, showcases his close connection to the movement and his role as a key figure in conveying its ideals through art.
A significant part of Cranach's legacy is his workshop in Wittenberg, which was a hub of artistic production. This workshop produced numerous works that bore his distinctive winged serpent signature, a mark of quality and innovation in the art of the period. Cranach's workshop was known for its efficient operation, enabling the production of a large volume of works that catered to the high demand of his time.
For collectors and experts in art and antiques, Lucas Cranach the Elder's work represents an intriguing intersection of art, culture, and history. His contributions to Renaissance art and his unique portrayal of religious and mythological themes continue to captivate audiences, making his work highly sought after in the world of art collection.
To explore more about Lucas Cranach the Elder's fascinating contributions to art and to stay updated on new discoveries or auction events related to his works, consider signing up for specialized updates. This subscription is designed for enthusiasts keen on delving deeper into the rich tapestry of Renaissance art and history, ensuring they remain well-informed of relevant sales and scholarly insights.
Marten de Vos (or Maarten de Vos, or Maerten de Vos) was a Dutch painter, draughtsman and graphic artist, dean of the Antwerp Guild.
After studying in Rome and Venice, de Vos returned to his native Antwerp in 1558 and became one of the city's leading artists. He created altarpiece images for many of Antwerp's churches. Many of his religious and historical paintings were later engraved, making him known throughout Flanders.
De Vos was also the founder of the Society of Romanists, whose members were famous artists and humanists of the time who appreciated the humanistic culture of Rome.
Niklaus Manuel Deutsch was a Swiss painter, graphic artist, poet and political reformer.
Niklaus Manuel Deutsch's artistic style is influenced by the Renaissance and Albrecht Dürer. Along with Holbein, he is considered the most important representative of the Renaissance in Switzerland. He created designs for jewellers, altarpieces, portraits and other paintings. His richly coloured canvases depict mainly mythological and biblical scenes.
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.
For those interested in the work and legacy of Albrecht Dürer, we recommend subscribing to our updates. Our subscription service is designed to provide information about new sales and auction events related to this remarkable artist. Join us to keep up to date on the latest art and antiques related to Albrecht Dürer.
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.
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.
Jan Gossaert was a French-speaking painter from the Low Countries also known as Jan Mabuse (the name he adopted from his birthplace, Maubeuge) or Jennyn van Hennegouwe (Hainaut), as he called himself when he matriculated in the Guild of Saint Luke, at Antwerp, in 1503. He was one of the first painters of Dutch and Flemish Renaissance painting to visit Italy and Rome, which he did in 1508–09, and a leader of the style known as Romanism, which brought elements of Italian Renaissance painting to the north, sometimes with a rather awkward effect. He achieved fame across at least northern Europe, and painted religious subjects, including large altarpieces, but also portraits and mythological subjects, including some nudity.
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.
Hans Holbein the Younger was a German-Swiss painter and printmaker who worked in a Northern Renaissance style, and is considered one of the greatest portraitists of the 16th century. He also produced religious art, satire, and Reformation propaganda, and he made a significant contribution to the history of book design. He is called "the Younger" to distinguish him from his father Hans Holbein the Elder, an accomplished painter of the Late Gothic school.
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.
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.
To stay informed about new discoveries and upcoming auction events related to Andrea Mantegna's works, signing up for updates is highly recommended. This subscription ensures that enthusiasts are always in the loop regarding sales and exhibitions featuring the magnificent works of this Renaissance master.
Hans Mielich was a German painter of the late Renaissance, mid-16th century. He is known as a painter, graphic artist, and court painter to Duke Albrecht V of Bavaria.
Mielich painted many religious paintings, portraits, and historical canvases (usually on boards), and he also decorated altars in churches. After a trip to Rome, his style became close to Italian Mannerism. His most famous work is the altarpiece of the Cathedral of Our Lady of Ingolstadt. He was also famous as the author of miniatures for manuscripts, including the Duchess Anna of Bavaria's Treasure Book, made for Duke Albrecht V and his wife Anna of Bavaria in 1555. In the same year, Milich became head of the Munich Artists' Guild.
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.
Francisco Pacheco del Río, baptized on November 3, 1564, and passing away on November 27, 1644, was a distinguished Spanish painter. Renowned for his dual role as Diego Velázquez's teacher and father-in-law, Pacheco's influence extends beyond his familial ties, contributing significantly to the arts through his seminal textbook, "Art of Painting." This work remains a crucial resource for understanding 17th-century artistic practices in Spain. Often referred to as the "Vasari of Seville," Pacheco's insights into painting theories and reflections on his contemporaries have left an indelible mark on the history of art, despite criticisms of his conventional execution in painting.
Pacheco's early life was marked by an immersive education in art, learning from Luis Fernandez and drawing inspiration from Italian masters. His journey included a pivotal sojourn to Madrid and Toledo in 1611 to study the works of El Greco, which further enriched his artistic repertoire. Upon his return to Seville, Pacheco opened an art school, laying the groundwork for his future contributions to art education and theory.
His career was notably characterized by his position as the official censor for Seville's Inquisition, which influenced his academic approach to religious subjects. Despite this, his paintings, such as the Last Judgment and Martyrs of Granada, are celebrated for their monumental scale. Pacheco's most enduring legacy, however, may be his influence on Diego Velázquez, whom he mentored for six years. Velázquez's marriage to Pacheco's daughter Juana in 1618 further solidified their personal and professional bonds. Pacheco's "Arte de la pintura" not only provided invaluable biographical information on Spanish painters of his era but also laid down foundational theories on iconography, materials, and technique.
For those interested in exploring Francisco Pacheco del Río's works further, notable pieces can be found in prestigious collections, such as the Museo Nacional del Prado, enriching our understanding of his impact on the art world.
Art enthusiasts, collectors, and experts are encouraged to sign up for updates to stay informed about new product sales and auction events related to Francisco Pacheco del Río, ensuring you remain at the forefront of developments in the fascinating world of art and antiques.
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.
Giulio Cesare Procaccini was an illustrious Italian painter and sculptor of the Baroque period, celebrated for his dynamic and expressive works. Born in Bologna and later moving to Milan, Procaccini's artistry was deeply influenced by the emotional intensity of Mannerism and the vibrant colorism of Venetian painting, signaling the dawn of the Baroque era.
Procaccini's oeuvre includes significant altarpieces such as the "Circumcision" now in the Galleria Estense in Modena, and the "Last Supper" for the Basilica della Santissima Annunziata del Vastato in Genoa. His collaboration with artists like Giovanni Battista Crespi and Pier Francesco Mazzucchelli under the patronage of Cardinal Federico Borromeo highlighted his pivotal role in the Milanese art scene. Moreover, Procaccini's "Ecce Homo" at the Dallas Museum of Art and "The Agony in the Garden" at the Prado Museum in Madrid exemplify his mastery in depicting religious narratives with profound emotion and technical sophistication.
Procaccini's journey through the art world was marked by his initial work as a sculptor, later transitioning to painting, where he left a lasting legacy. Commissioned to paint scenes commemorating the life of Cardinal Carlo Borromeo in Milan Cathedral, his style evolved to exhibit increased clarity and a brighter palette, indicative of his maturation as an artist. His exposure to the works of Rubens and his travels across Italy allowed him to absorb and reinterpret the stylistic elements of Caravaggio, Correggio, and Parmigianino, enriching his own artistic language.
Though not represented in London's National Gallery, Procaccini's paintings grace collections across Europe and beyond, with notable works in the north of England, including "The Mocking of Christ" at Museums Sheffield and "The Raising of the Cross" at the National Galleries of Scotland. These pieces demonstrate his skillful use of color and ability to convey the physical and emotional weight of biblical stories.
For collectors and experts in art and antiques, Giulio Cesare Procaccini represents a fascinating study in the transition from Mannerism to Baroque, embodying the emotional depth and innovative spirit of early 17th-century Italian art. His contributions to the Baroque period remain a testament to his versatility and enduring appeal.
For updates on new discoveries, sales, and auction events related to Giulio Cesare Procaccini, consider signing up for relevant newsletters or alerts. This ensures that enthusiasts and collectors alike are well-informed about the latest opportunities to engage with the magnificent art of Procaccini.
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".
Raffaello Santi was an Italian artist, famously known for his contributions to the world of culture and art. Born in Urbino, Italy, in 1483, Raffaello Santi, commonly known as Raphael, was a renowned painter and architect during the Italian Renaissance. His exceptional talents in the realms of painting and sculpture have left an indelible mark on the art world, earning him a place among the greatest artists of all time.
Raphael's works are celebrated for their exquisite detail, harmonious compositions, and the graceful beauty of his subjects. He is best known for his remarkable frescoes in the Vatican Palace, including the famous "School of Athens," which exemplifies his mastery in blending classical antiquity with contemporary artistic sensibilities. His ability to capture the human form with unparalleled accuracy and sensitivity has earned him a reputation as a true virtuoso.
Among his other notable works are "The Sistine Madonna" and "The Transfiguration," both of which showcase his exceptional skills in portraying religious subjects with a captivating emotional depth. These paintings, along with many others, are now cherished treasures in museums and galleries worldwide, drawing art enthusiasts and experts alike to admire Raphael's timeless creations.
For collectors and art connoisseurs, Raphael's works are highly sought after, not only for their historical significance but also for their aesthetic appeal. His pieces continue to command great value in the art market, making them a valuable addition to any art collection.
If you are passionate about culture, art, and the works of this celebrated artist, consider signing up for updates related to Raphael Santi. Stay informed about new product sales and auction events featuring his masterpieces, and have the opportunity to acquire a piece of art history for yourself. Don't miss the chance to immerse yourself in the world of Raphael and his timeless contributions to the realm of art. Subscribe today and be a part of preserving his legacy.
Andrea Semini was an Italian painter of the late-Renaissance, active mainly in his native Genoa. He was a son and pupil of the painter Antonio Semini. After studying some time under his father, together with his brother Ottavio he went to Rome, and they realized some work in collaboration (frescoes in the Palazzo Marino in Milan). He is well known for his frescoes in several palaces in Genoa, painting for churches and portraits.
Alessandro Tiarini was an Italian Baroque painter of the Bolognese School. He was the godson of painter Lavinia Fontana and initially apprenticed in Bologna under her father Prospero Fontana, and subsequently with Bartolomeo Cesi. He was not inducted into the Carracci Academy. Forced to flee from Bologna, he moved to Florence, where he painted frescoes, façade decorations, and altarpieces. He painted a series of frescoes for the Brami Chapel in the sanctuary, as well as other works, for the Basilica della Ghiara in Reggio Emilia.
Pieter van der Borcht the Elder was a Flemish Renaissance painter, draughtsman and etcher. He is regarded as one of the most gifted botanical painters of the 16th century. Pieter van der Borcht the Elder also introduced new themes such as the 'monkey scene' (also called 'singerie') into Northern art.
Giuseppe Niccolò Vicentino, called Rospigliosi, was an Italian painter and wood-engraver of the Renaissance. His method was chiaroscuro. He used three blocks, and did much to develop the process. Among other cuts by him are: A Sibyl reading a Book; Hercules killing the Nemaean Lion after Raphael; Death of Ajax after Polidoro da Caravaggio; Venue embracing Cupid; and Glelia escaping from Porsenna's camp.
Hans von Aachen was a German painter, renowned for his role as a leading representative of Northern Mannerism. His journey into the art world took him from Rome, where he studied antique sculptures and the works of Italian masters, to Florence and then Venice, securing commissions that would define his early career. Notably, his work caught the attention of the Medici family, leading to significant commissions.
By 1592, von Aachen had become the official painter for Emperor Rudolf II in Prague. This position didn't require him to stay at court, allowing him to work from his residence. His relationship with Rudolf II was pivotal, marking a period where his art flourished under the emperor's patronage, celebrated for mythological paintings and complex allegories. The emperor's appreciation for painting and the arts transformed Prague into a significant art center, fostering a style full of elegance and sensuality known as Mannerism.
Hans von Aachen's style, influenced by Italian Mannerism and northern realism, showcased his versatility through portraits, historical, religious subjects, and allegories. His significant works include the "Allegory of Peace, Art and Abundance," depicting personifications of Peace, Science and the Liberal Arts, and Abundance, celebrated for illustrating the flourishing of these ideals under Rudolf II's reign. This piece, among others, found its home in prestigious collections like the Hermitage Museum in Saint Petersburg.
His contribution to the art world was acknowledged by the European courts, merchants, and the nobility. Even after Rudolf II's death, Hans von Aachen continued his work for Matthias, focusing on imperial portraits until his death in Prague in 1615. His legacy, momentarily overshadowed by the nationalistic perspectives of the 19th century, has been reevaluated, recognizing him as a key figure in European cultural exchange and Mannerism.
For art collectors and experts interested in Mannerism and Hans von Aachen's work, his journey from an admired artist at European courts to a celebrated figure in art history underscores the lasting impact of his work. His ability to navigate the cultural and artistic demands of his time, leaving behind a body of work that continues to be studied and appreciated, makes him a fascinating subject of study.
For updates on new product sales and auction events related to Hans von Aachen, sign up here. This subscription is your gateway to exploring the remarkable works of this distinguished Mannerist painter, ensuring you never miss an opportunity to own a piece of history.
Cesare Corte was an Italian painter of the Renaissance period, active mainly in his natal city of Genoa. He was the pupil of his father, the Venetian painter and later alchemist Valerio Corte. He trained under Luca Cambiaso. According to Baldinucci, he was often in demand as a portrait painter.