Graphic artists 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.
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.
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.
Antonio Balestra, an Italian painter, is celebrated for his contributions to the Baroque art movement. Initially training in his hometown, Balestra's artistic journey took him to Venice and Rome, where he honed his skills and absorbed diverse artistic influences. By 1694, his talents were recognized with a prestigious award from the Accademia di San Luca in Rome, underscoring his growing reputation.
Antonio Balestra's works, characterized by their adherence to classical artistic standards, are found in various Italian cities, including Venice, Bologna, and Verona. He was known for his religious paintings, such as "The Miracle of Saint Nicholas" and "The Annunciation," as well as his contributions to church decorations and altarpieces.
Despite his traditional approach, Antonio Balestra's legacy is cemented in the art world, with works displayed in notable museums and his influence extending to pupils and subsequent generations of artists. His devotion to the established norms of academic painting reflected a broader dialogue within the art community about innovation versus tradition during his time.
For art collectors and enthusiasts, Antonio Balestra's works offer a glimpse into the Baroque era's rich artistic heritage, showcasing a blend of devout religiosity and meticulous craftsmanship. To stay informed about Antonio Balestra's art and related auction events, consider subscribing to updates, ensuring you remain connected to the enduring appeal of his artistic legacy.
Federico Barocci, an Italian Renaissance painter and printmaker, was celebrated for his vibrant use of color and dynamic compositions. Born around 1533 in Urbino, Italy, a hub of Renaissance culture, Barocci's early life was steeped in the rich artistic heritage of the time. His training included an apprenticeship with his father, a sculptor, and later with notable artists such as Battista Franco Veneziano and Taddeo Zuccari.
Federico Barocci's work, known for its emotional intensity and use of light, positioned him as a critical link between the Mannerist style of the 16th century and the emerging Baroque period. His paintings often depicted religious scenes, imbued with a warmth and spirituality that resonated with viewers. His unique approach to color and composition had a significant influence on later artists, including the Baroque masters Peter Paul Rubens and Gian Lorenzo Bernini.
Despite suffering from chronic illness, possibly due to poisoning, Federico Barocci's output remained prolific and influential. His works can be found in several prestigious galleries, including the Uffizi in Florence, where his "Madonna del Popolo" and "Martyrdom of Saint Vitale" are displayed. These pieces, along with others like "The Deposition" in the Cathedral of Perugia and "Noli me Tangere" in Munich, showcase his mastery in portraying human emotion and divine radiance.
Collectors and experts in art and antiques will appreciate the depth and innovation of Federico Barocci's work. His legacy as a master colorist and draughtsman is undeniable, making his pieces a valuable addition to any collection.
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Giulio Benso was a Genovese painter of the early Baroque. He is known as one of the followers of the style of Luca Cambiasi. Initially under the patronage of Giovanni Carl Doria, he met Giulio Cesare Procaccini and was encouraged to study in the Genovese Accademia del Nudo. Afterwards, he was apprenticed to Giovanni Battista Paggi. Apart from his work in Liguria, he decorated the Palazzo Grimaldi in Cagnes-sur-Mer with the Fall of Phaeton and sent works to the Abbey of Weingarten in Germany. In the 1640s, he completed his masterpiece, a fresco in the presbytery and apse of the church of the Basilica della Santissima Annunziata del Vastato. There are also paintings of his in his hometown of Pieve di Teco as well as in the parish church of Sant'Ambrogio in Alassio.
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.
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.
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.
For collectors and art enthusiasts interested in Carpioni's work, staying informed about exhibitions, sales, and auctions is essential. Signing up for updates can provide access to the latest information on Giulio Carpioni's pieces, ensuring you don't miss out on new discoveries or opportunities to add to your collection.
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.
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.
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.
Jusepe de Ribera, a Spanish painter, etcher, and draughtsman, was a notable figure in the world of art, renowned for his distinct style and contribution to Castilian tenebrism. Born in 1591 in Játiva, near Valencia, Spain, Ribera's early life and artistic origins are somewhat shrouded in mystery, with no definitive documentation on his initial training. However, it's speculated that he might have started his artistic journey in Valencia.
Ribera's career took a significant turn when he moved to Italy, where he spent the majority of his professional life, predominantly in Naples, a Spanish territory at that time. He arrived in Naples around 1616 and soon established himself as an important artist in the city. His marriage to Caterina Azzolino, daughter of Sicilian painter Giovanni Bernardino Azzolino, in November of the same year, further solidified his connections in the Italian art scene.
Ribera was deeply influenced by Caravaggio and is often described as one of Caravaggio's followers. His early works displayed a marked tenebrism, characterized by stark chiaroscuro and a robust, scratchy handling of paint. However, Ribera's style evolved over time, moving away from this intense tenebrism to incorporate more color and softer modeling in his later works.
His body of work is diverse, including altarpieces, religious subjects, mythological themes, and portraits. Ribera had a penchant for depicting scenes of martyrdom with graphic realism, as seen in works like the celebrated "Martyrdom of St Bartholomew." Yet, he was also capable of expressing great tenderness, evident in paintings such as "The Adoration of the Shepherds." His secular subjects often depicted philosophers as beggars or vagabonds, adding a unique dimension to the Baroque repertoire.
Ribera's influence extended beyond Naples to Spain and the broader European art scene. He played a foundational role in fostering a respect for individual humanity in Spanish art, a trend that continued with artists like Velázquez and Goya. His works were widely exported to Spain and had a significant impact on both Italian and Spanish art. Ribera remains a highly respected figure in art history, and his works are featured in prominent museums and galleries worldwide, showcasing his enduring legacy in the realm of art and culture.
For art collectors and experts, Ribera's works represent a crucial chapter in the development of European art, particularly in the context of the Spanish Baroque and the evolution of tenebrism. His innovative approach to subject matter and technique continues to inspire and captivate audiences, making his works highly sought after in the world of art and antiques.
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Jean-François de Troy was a French Rococo easel and fresco painter, draughtsman and tapestry designer. One of France's leading history painters in his time, he was equally successful with his decorative paintings, genre scenes and portraits. He was the inventor of the tableaux de modes ('paintings of fashions'), which attempted to provide a spirited portrayal of contemporary fashions, pastimes and manners.
He was the Director of the French Academy in Rome from 1738.
Juan de Valdés Leal, born on May 4, 1622, in Seville, Spain, and passing away on October 15, 1690, was a Spanish painter and etcher celebrated for his Baroque era works. Valdés Leal is recognized for his dramatic and often somber thematic paintings which starkly contrasted with the serene styles of his contemporaries. His notable contributions include not just painting but also sculpture and architecture, indicating his versatile artistic talents. Educated under Antonio del Castillo in Córdoba, Valdés Leal's body of work covers religious and vanitas themes, emphasizing the transient nature of earthly life and the inevitability of death.
One of Valdés Leal's significant periods was after his return to Seville in 1656, where alongside Bartolomé Esteban Murillo, he co-founded the Seville Academy of Art. This period marked the creation of some of his most poignant works, including "In ictu oculi" and "Finis gloriae mundi," which he painted for the Charity Hospital in Seville. These works are revered for their deep contemplation on mortality and the fleeting nature of worldly success.
Valdés Leal's legacy extends beyond his own lifetime, with several of his children, including Lucas, Juan, Maria, and Laura, following in his artistic footsteps. His influence persisted in Seville's artistic landscape, especially in religious art, where his pieces continued to inspire both awe and reflection.
For collectors and experts in art and antiques, Juan de Valdés Leal's work offers a profound glimpse into the Baroque era's complex interplay of beauty, spirituality, and the macabre. His paintings, many of which reside in museums and private collections worldwide, remain a testament to his skill and depth as an artist.
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Marten de Vos (or Maarten de Vos, or Maerten de Vos) was a Dutch painter, draughtsman and graphic artist, dean of the Antwerp Guild.
After studying in Rome and Venice, de Vos returned to his native Antwerp in 1558 and became one of the city's leading artists. He created altarpiece images for many of Antwerp's churches. Many of his religious and historical paintings were later engraved, making him known throughout Flanders.
De Vos was also the founder of the Society of Romanists, whose members were famous artists and humanists of the time who appreciated the humanistic culture of Rome.
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.
Baldassare Franceschini, called Il Volterrano after his birth place Volterra and, to distinguish him from Ricciarelli, Il Volterrano Giuniore was an Italian late Baroque painter and draughtsman active principally around Florence and Volterra. He was mainly known for his frescoes, altarpieces and easel paintings for churches and palaces in Florence, Volterra and Rome. His subject matter was diverse and included portraits, biblical and mythological scenes, history paintings and allegorical compositions.
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.
Dirck Hals was a Dutch Golden Age painter of merry company scenes, festivals and ballroom scenes. He played a role in the development of these types of genre painting. He was somewhat influenced by his elder brother Frans Hals, but painted few portraits.
Nicolas Lagneau was a French draftsman noted for his portrait drawings. He was especially interested in grotesque physiognomies, which he drew in meticulous detail either from models or from his imagination. His drawings are usually executed in black and red chalk, sometimes with the addition of blue or yellow gouache. In their heightened realism, and their emphasis on facial expressions, wrinkles, and deformities, Lagneau's portraits reveal the influence of Rembrandt's early works.
Lagneau's drawings are plentiful in French and US museums.
Jean Leclerc was a French painter known for his significant contributions to the Baroque art movement, particularly in the style known as tenebrism. Born and died in Nancy, Duchy of Lorraine, Leclerc is celebrated for his expertise in creating nocturnal light effects and the luminosity within his scenes. His education under the Venetian master Carlo Saraceni greatly influenced his artistic direction.
Although only a few authenticated paintings of Jean Leclerc's exist today, his legacy is also preserved through numerous etchings and engravings. His works, like "The concert," "The adoration of the shepherds," and "Doge Enrico Dandolo Recruiting for the Crusade," showcase his mastery in handling religious and historical subjects with a dramatic interplay of light and shadow.
For art enthusiasts and experts, Jean Leclerc's oeuvre offers a fascinating glimpse into the Baroque era's stylistic nuances and the broader tenebrist movement. His works are essential for understanding the artistic transitions and cultural dialogues of the 17th century in European art.
To dive deeper into Jean Leclerc's artistry and view some of his works, you can explore collections and detailed discussions on websites like the Yale University Art Gallery and the National Gallery of Art.
For collectors and art historians keen on updates related to Jean Leclerc's works or upcoming exhibitions featuring his art, subscribing to newsletters from reputable art galleries or museums can provide valuable insights and alerts on new discoveries, sales, and auction events connected to Leclerc's legacy.
Sébastien Leclerc was a French graphic artist of the second half of the seventeenth and early eighteenth centuries. He is known as a brilliant master of engraving and woodcuts, as well as an art theorist and military engineer.
Leclerc created more than 3,400 engravings during his career, most of them in the religious genre. He was also famous for his illustrations of French literary novels and scientific treatises on art theory, architecture, and geometry.
The artist's son Sebastien Leclerc Jr. and grandson Jacques-Sebastien Leclerc became famous as painters.
Johann Karl Loth was a German painter of the second half of the 17th century, the Baroque era. He is known as a painter and graphic artist, a representative of Caravaggism.
Loth painted canvases with historical, religious and mythological subjects, as well as portraits. In portrait painting, he brought elements of genre, which was influenced by the Flemish masters. The combination of dynamic brushstrokes, colorful variety and spectacular lighting in the style of the masters of Northern Italy attracted the attention of European collectors and aristocratic clients.
Jan Miense Molenaer was a Dutch painter of the Golden Age of Dutch painting, known for his genre scenes, in particular his depiction of everyday life in the Netherlands in the 17th century.
Jan Minse Molenaer was known for his humorous and lively scenes, often depicting peasants, drunks and musicians. He used a naturalistic style in his works, which were characterized by bright colours and a skilful use of light and shadow. During his career he also painted portraits and religious scenes.
Molenar was a member of the Haarlem Guild of St. Luke and his works were in great demand during his lifetime.
Antonio Molinari, an Italian painter, was a prominent figure in the Venetian Baroque movement. Molinari was celebrated for his dynamic and dramatic renditions of religious and mythological scenes, often characterized by their emotional intensity and vibrant color palette. His training under Antonio Zanchi in Venice and the influence of Neapolitan artists like Luca Giordano significantly shaped his artistic style, which blended Neapolitan naturalism with classic Venetian colorism.
Antonio Molinari's work is known for its tumultuous narratives, as seen in pieces like "The Adoration of the Golden Calf" housed in the Hermitage Museum and "The Boy Moses Stepping on Pharaoh's Crown" at the Museum Kunstpalast. His ability to convey complex stories through his art has left a lasting impact on the Baroque genre, influencing subsequent artists, including his pupil Giovanni Battista Piazzetta.
For art collectors and aficionados, Antonio Molinari's oeuvre offers a deep dive into the Baroque's rich narrative and aesthetic qualities, making his works coveted pieces in the realm of art and antiquities. His contributions to the Venetian Baroque movement remain significant, illustrating the vibrant cultural and artistic history of the period.
To stay updated on Antonio Molinari's artworks and related auction events, subscribing for updates is recommended for enthusiasts keen on acquiring or learning more about his influential pieces. This subscription ensures that collectors and art lovers are promptly informed about new sales and auction events related to Molinari's works, enriching their appreciation and understanding of this pivotal artist's legacy.
Giovanni Francesco Muccio was an Italian etcher and painter. His artistic journey, though not extensively documented, showcases his contributions to the Italian Baroque era. Muccio is recognized for his etchings, a notable one being "Saint Jerome in the Wilderness" from 1652, which illustrates his mastery in capturing depth and emotion through intricate line work.
Giovanni Francesco Muccio's works are a testament to his skill and his ability to evoke contemplation and spirituality, a characteristic feature of Baroque art. His association with Giovanni Francesco Barbieri, known as il Guercino, hints at the artistic circles he was part of, allowing a deeper insight into his influences and the styles he might have embraced.
While Muccio might not be as widely recognized as some of his contemporaries, his works hold a special place in the realm of art history. They offer a window into the intricate world of Italian Baroque etching, highlighting the era's rich tapestry of artistic expression. His pieces, such as the etching after Simone Cantarini, are valued for their historical significance and artistic merit.
For collectors and art enthusiasts, delving into Giovanni Francesco Muccio's oeuvre is a journey into a lesser-known chapter of Baroque art, offering unique insights and discoveries. His works, preserved in various collections, continue to captivate and inspire, underscoring the enduring legacy of this enigmatic artist.
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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.
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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.
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Cornelis Saftleven was a Dutch painter who worked in a great variety of genres. Known in particular for his rural genre scenes, his range of subjects was very wide and included portraits, farmhouse interiors, rural and beach scenes, landscapes with cattle, history paintings, scenes of Hell, allegories, satires and illustrations of proverbs.
Jean-Baptiste Santerre was a French painter and draughtsman of the Style Louis XIV, known for his history paintings, portraits, and portrait-like genre subjects. Considerably influenced by Italian masters of the Bolognese school as well as his French contemporaries, Santerre nonetheless made an original contribution in his art, being among the first French painters to bring Netherlandish influences.
After achieving initial success as a portrait painter by the late 1690s, Santerre began to branch out into the fields of genre painting and, in which he combined the fantasy portrait of Northern tradition, as seen in the art of Rembrandt and Gerrit Dou, with the allegorical portrait, then fashionable in France. At the same time, he also painted history paintings and altarpieces of biblical and religious subjects, suffused with a strong erotic character.
Santerre's work brought him a controversial reputation, in light of his association with the French Regency era; it was during the 19th and 20th centuries when it met a broader appreciation. Santerre is regarded as a precursor of the Rococo era painting, as well as of both Neoclassical and Romantic painting, and was said to be an influence on subsequent generations of artists during the said eras.
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.
Jacob Toorenvliet was a Dutch painter and graphic artist of the Gilded Age, a master of genre painting and printmaking.
Jacob Toorenvliet was a member of the Leiden Guild of Saint Luke. Together with Willem van Mieris and Carel de Moor he founded the Academy of Arts (Tekenacademie).
Jacob Torenvliet's style of painting has its origins in the genre painting of Leiden. Torenvliet's paintings contain elements of fine painting. The artist incorporates all kinds of influences in his work, but mixes them with his own forms of expression.
Adriaen Pietersz. van de Venne was a Dutch painter, graphic artist, and poet of the Golden Age and a member of the Guild of St. Luke in The Hague. He is known for his paintings of genre scenes, allegories, portraits, and historical scenes. De Venne painted many engravings illustrating genre scenes depicting peasants, old men, vagabonds, madmen, and thieves. These works often illustrate aphorisms and proverbs.
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.
Jacob van Ruisdael, a preeminent Dutch painter, etcher, and draughtsman of the 17th century, is celebrated for his masterful landscape paintings, which significantly influenced the course of Western landscape art. Born around 1628/29 in Haarlem, Netherlands, into a family of artists, Ruisdael was an integral part of the Dutch Golden Age of painting.
Although the specifics of his training are unclear, it's believed that he was influenced by his father, uncle, and other local Haarlem landscapists like Cornelis Vroom and Allaert van Everdingen. Ruisdael's works are renowned for their dramatic depictions of Dutch landscapes, combining detailed natural observation with a monumental composition style. His paintings often feature striking forest scenes or sweeping panoramic views of cities like Haarlem.
Ruisdael's oeuvre spans a wide range, from serene forest scenes and turbulent seascapes to bustling cityscapes and desolate ruins. His handling of light and atmosphere in these settings is particularly noteworthy, adding a dramatic and emotional depth to the landscapes.
Some speculation surrounds Ruisdael's life, including the possibility of him practicing medicine in Amsterdam; however, this remains a topic of debate among historians. His travels seem to have been limited within the Netherlands and possibly to Germany, but he never visited Scandinavia, despite painting numerous Norwegian landscapes.
Today, Ruisdael's works are held in high esteem and are a part of major collections worldwide, including the National Gallery in London, the Rijksmuseum in Amsterdam, and the Hermitage Museum in St. Petersburg. Notable works include "The Jewish Cemetery," "View of Haarlem with Bleaching Grounds," and "Bentheim Castle," all showcasing his characteristic treatment of nature and light.
For art enthusiasts and collectors, Ruisdael's works offer a profound insight into the landscape painting of the Dutch Golden Age. His influence extends across various art movements and continues to be celebrated in the art world. Those interested in his work are encouraged to explore collections in renowned museums and keep informed about new sales and auction events related to Ruisdael's artworks.
For those with a keen interest in the works of Jacob van Ruisdael and the rich heritage of Dutch landscape painting, there is an exclusive opportunity to stay connected with the latest developments in this field. By subscribing to our updates, you will receive timely information on new product sales and auction events specifically related to the art of Jacob van Ruisdael. This service is particularly valuable for collectors and experts in art and antiques, offering insights into available pieces and upcoming opportunities to acquire works from this influential artist.
Jan Verkolje was a Dutch painter-drawer and engraver of the Golden Age. He is known for his portraits and genre scenes in interiors, and to a lesser extent for religious and mythological compositions. Vercolje was a gifted self-taught artist in various drawing techniques - drawing, engraving, metal carving (mezzotint).
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.
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Joachim von Sandrart was a German Baroque art-historian and painter, active in Amsterdam during the Dutch Golden Age. He is most significant for his collection of biographies of Dutch and German artists the Teutsche Academie, published between 1675 and 1680.
Jan Wildens was a Flemish painter, graphic artist, and draughtsman of the Baroque period, member of the Guild of St. Luke in Antwerp.
Wildens specialized in landscapes and collaborated with Rubens and other leading Flemish painters of his time.
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.