Mannerism 17th century
Francesco Albani was a renowned Italian painter and fresco artist. He is celebrated for his contributions to the academic Bolognese school, which was profoundly influenced by the Carracci family, under whom Albani trained. Albani's artistic journey began at the young age of 12, marking the start of a career that would see him become one of the 17th-century's most esteemed Bolognese masters.
Francesco Albani's style is characterized by its lyricism and often features cherubic figures, a trait that became his signature. Despite not embracing the monumentality or tenebrism prevalent in the works of his contemporaries, his thematic appeal and mannerist elegance have earned him a place in art history. His works often comprise mythological and religious scenes, executed with a refined and lyrical view of nature. This approach helped disseminate the classical ideals prominent in Carracci's landscapes.
Among Francesco Albani's notable works are his frescoes in the Hall of Aeneas at Palazzo Fava in Bologna and Palazzo Doria Pamphilj in Rome, and his paintings "The Judgment of Paris" and "The Toilet of Venus". His works can be found in prestigious collections worldwide, including the Museo del Prado, Galleria Borghese in Rome, and the Hermitage in St. Petersburg.
Francesco Albani's influence extended beyond his lifetime, with his classicising and idealised scenes finding favor with 18th-century French painters and collectors. However, his popularity waned during the 19th century. Despite this, his work remains an integral part of the study of Baroque art, particularly in understanding the transition from Mannerism to Baroque styles.
For collectors and experts in art and antiques, the legacy of Francesco Albani presents an opportunity to explore a pivotal moment in the history of Italian painting. His works not only provide aesthetic pleasure but also serve as important cultural artifacts, offering insights into the artistic trends and societal values of the 17th century.
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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.
Alessandro Allori, full name Alessandro di Cristofano di Lorenzo del Bronzino Allori, was an Italian painter of the Florentine school of late Mannerism.
Allori was one of the major artists of Florence in the late 16th century. He painted prostrate images and portraits. His son Cristofano Allori (1577-1621) also became an artist.
Giovanni Andrea Ansaldo was an Italian painter active mainly in Genoa. He trained under Orazio Cambiasi and possibly collaborated with Bernardo Strozzi. Ansaldo's works are typical of the Genoese eclecticism of the early 17th century, influenced by Flemish artists. Ansaldo was responsible for the fresco decoration of the cupola of the Basilica della Santissima Annunziata del Vastato of Genova. His Annunciation fresco is considered the first true Baroque painting in the city.
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.
Simone Barabino was an Italian painter of the late-Mannerist style. Born in Val de Polcevera, near Genoa, he was mainly active in his native city, where he trained with Bernardo Castello. Notable works include San Diego restoring sight to blind child for the Nunziata del Guastato in Genoa and Dead Christ with the Virgin and Saints Michael and Andrew for the church of San Girolamo at Milan.
Federico Barocci, an Italian Renaissance painter and printmaker, was celebrated for his vibrant use of color and dynamic compositions. Born around 1533 in Urbino, Italy, a hub of Renaissance culture, Barocci's early life was steeped in the rich artistic heritage of the time. His training included an apprenticeship with his father, a sculptor, and later with notable artists such as Battista Franco Veneziano and Taddeo Zuccari.
Federico Barocci's work, known for its emotional intensity and use of light, positioned him as a critical link between the Mannerist style of the 16th century and the emerging Baroque period. His paintings often depicted religious scenes, imbued with a warmth and spirituality that resonated with viewers. His unique approach to color and composition had a significant influence on later artists, including the Baroque masters Peter Paul Rubens and Gian Lorenzo Bernini.
Despite suffering from chronic illness, possibly due to poisoning, Federico Barocci's output remained prolific and influential. His works can be found in several prestigious galleries, including the Uffizi in Florence, where his "Madonna del Popolo" and "Martyrdom of Saint Vitale" are displayed. These pieces, along with others like "The Deposition" in the Cathedral of Perugia and "Noli me Tangere" in Munich, showcase his mastery in portraying human emotion and divine radiance.
Collectors and experts in art and antiques will appreciate the depth and innovation of Federico Barocci's work. His legacy as a master colorist and draughtsman is undeniable, making his pieces a valuable addition to any collection.
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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.
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.
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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Adriaen Brouwer was a Flemish painter active in Flanders and the Dutch Republic in the first half of the 17th century. Brouwer was an important innovator of genre painting through his vivid depictions of peasants, soldiers and other "lower class" individuals engaged in drinking, smoking, card or dice playing, fighting, music making etc. in taverns or rural settings. Brouwer contributed to the development of the genre of tronies, i.e. head or facial studies, which investigate varieties of expression. In his final year he produced a few landscapes of a tragic intensity. Brouwer's work had an important influence on the next generation of Flemish and Dutch genre painters. Although Brouwer produced only a small body of work, Dutch masters Peter Paul Rubens and Rembrandt collected it.
Pieter Brueghel the Younger was a Flemish artist celebrated for his detailed landscapes, religious themes, proverbs, and vibrant village scenes. Despite being the son of the illustrious Pieter Bruegel the Elder, Brueghel the Younger carved out his own niche in the art world, earning the moniker 'Hell Brueghel' for his dynamic scenes of fires and energetic copies of his father's peasant life portrayals.
Brueghel the Younger's original creations, such as "The Village Lawyer," showcase his keen observation of village life, merging the energy and boldness of 17th-century style with his father's idiom. His work is characterized by its lively, picturesque depiction of peasants, albeit some critics argue they lack the subtlety and humanism of his father's creations. Despite this, Brueghel the Younger's legacy includes a significant number of original works and copies that were rediscovered in the 20th century, highlighting his contribution to the Flemish painting tradition.
His workshop was known for its prolific output, especially in producing copies of Bruegel the Elder's compositions, a testament to the enduring popularity and influence of the Bruegel family's artistic legacy. However, Brueghel the Younger also impressed with his unique compositions, contributing to the genre of still life and village scenes with a distinct style that resonated well into modern times.
For collectors and experts in art and antiques, Pieter Brueghel the Younger's works represent an important period in Flemish art, offering insights into the evolution of genre painting and the detailed portrayal of rural life. His paintings, held in esteemed collections worldwide, continue to be studied and admired for their vibrancy, narrative quality, and historical value.
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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.
Denijs Calvaert, a Flemish painter born around 1540 in Antwerp, is a distinguished figure in the history of art. Settling in Bologna, Italy, around 1560, Calvaert became a significant influence in the Bolognese School of painting. He is known for his devotion to religious subjects and his contributions to the Mannerist style. Calvaert's work showcases a blend of Northern European landscape sensibilities and Italian chiaroscuro techniques, reflecting influences from artists like Antonio da Correggio and Federico Barocci.
Denijs Calvaert's legacy includes not only his paintings but also his role as a teacher. He established an academy around 1575 in Bologna, imparting knowledge to over 100 pupils. Some of his most notable students were Francesco Albani, Domenichino, and Guido Reni, who later became prominent figures in the Bolognese School. His academy likely inspired the more celebrated academy of the Carracci.
Notable works by Denijs Calvaert include "The Holy Family with the Infant Saint John the Baptist," "The Mystic Marriage of Saint Catherine," and "The Martyrdom of Saint Stephen." His works are showcased in various esteemed locations, such as the National Art Gallery of Bologna, the Louvre in Paris, the Met Museum in New York, and the British Museum. Additionally, "St Michael," one of his most renowned works, is displayed at the Basilica of San Petronio.
Denijs Calvaert's paintings can be found in the collections of several prominent museums, including the National Galleries of Scotland, the Fitzwilliam Museum, and the Museo Nacional del Prado. His unique contribution to the art world lies in his fusion of Northern and Italian Renaissance elements, making his work a vital link between these two pivotal artistic movements.
For collectors and enthusiasts of art and antiques, the work of Denijs Calvaert offers a unique opportunity to delve into a critical transition period in European art. His fusion of Northern European and Italian Renaissance styles represents an important chapter in art history. For those interested in exploring and possibly acquiring pieces of this significant artist, keeping informed about exhibitions, sales, and auctions where Calvaert's works are featured is essential.
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Peter Candid was a Flemish painter, tapestry designer, draughtsman and sculptor.
Pieter Candide worked mainly in Italy and Germany. He was an artist at the court of the Medici in Florence and at the Bavarian court of Duke Wilhelm V and his successor Maximilian I in Munich.
His paintings range from historical paintings, portraits, mythological scenes and allegories. He created large altarpiece images as well as complex decorative designs.
Candide's style was characterised by a combination of Italian and Flemish influences, with a particular emphasis on detailed, realistic depictions of the human form.
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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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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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.
Alessandro Casolani was an Italian painter of the late-Renaissance period, active mainly in Siena. He was also called Alessandro della Torre. His works are principally in the churches of Siena, but are also found in Naples and Genoa. He also etched one plate, a Madonna. His son, Ilario Casolani was also a painter. Among the pupils of Casolani are Bernardino Capitelli, Sebastiano Folli, and Giovanni Biliverti.
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.
Giuseppe Cesari was an Italian Mannerist painter, also named Il Giuseppino and called Cavaliere d'Arpino, because he was created Cavaliere di Cristo by his patron Pope Clement VIII. He was much patronized in Rome by both Clement and Sixtus V. He was the chief of the studio in which Caravaggio trained upon the younger painter's arrival in Rome.
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.
Pieter Claesz was a Dutch Golden Age painter of still lifes.
He and Willem Claeszoon Heda, who also worked in Haarlem, were the most important exponents of the "ontbijt" or dinner piece. They painted with subdued, virtually monochromatic palettes, the subtle handling of light and texture being the prime means of expression. Claesz generally chose objects of a more hospitable kind than Heda, although his later work became more colourful and decorative. Claesz's still lifes often suggest allegorical purpose, with skulls serving as reminders of human mortality. The two men founded a distinguished tradition of still life painting in Haarlem. Pieter Claesz was influenced by the artist movement 'Vanitas'.
Daniele Crespi was an Italian painter and draughtsman. He is regarded as one of the most original artists working in Milan in the 1620s. He broke away from the exaggerated manner of Lombard Mannerism in favour of an early Baroque style, distinguished by clarity of form and content. A prolific history painter, he was also known for his portraits.
Domenico Passignano, born Domenico Cresti or Crespi, was an Italian painter of a late-Renaissance or Counter-Maniera (Counter-Mannerism) style that emerged in Florence towards the end of the 16th century.
Giovanni da Bologna, also known as Jean de Boulogne (French), Giambologna (Italian), Fiammingo (Italian) and Jehan Boulongne (Flemish), was the last significant Italian Renaissance sculptor, with a large workshop producing large and small works in bronze and marble in a late Mannerist style.
Jacopo da Empoli, real name Jacopo Chimenti, was a prominent Italian painter, a representative of Counter-Mannerism in Italian art. This movement borrowed some features of Mannerism, but resolutely returned to the realism, harmony and poise of the High Renaissance.
Jacopo da Empoli received his artistic training in the workshop of Maso da San Friano and was inspired by the works of Pontormo and Santi di Tito. He created in Florence, small towns in Tuscany and even visited Genoa.
Jacopo da Empoli created religious paintings and portraits, but an interesting feature of his work was his unique still life paintings, completely different from those of the Dutch masters of the time.
Jan de Baen was a Dutch portrait painter who lived during the Dutch Golden Age. He was a pupil of the painter Jacob Adriaensz Backer in Amsterdam from 1645 to 1648. He worked for Charles II of England in his Dutch exile, and from 1660 until his death he lived and worked in The Hague. His portraits were popular in his day, and he painted the most distinguished people of his time.
Louis de Caullery was a Flemish painter who is known for his architectural scenes, city views, genre scenes, allegorical compositions and history paintings. He was one of the pioneers of the art genre of courtly gatherings and the garden parties (fête champêtre) in Flemish painting.
Pedro de Raxis was a Spanish painter and gilder known for his contributions to the Granadan school of art. Born in 1555 in Alcalá la Real, Jaén, Raxis became a key figure in Granada art of the Counter-Reformation era. Characterized by vivid narrative and Mannerist influences, his works are characterized by intense, luminous colors and delicate composition.
Raxis's career was marked by numerous significant commissions. Among his best-known works are the murals for the church of San Cecilio in Granada (1580), the retablos of Santa María Mayor de Alcaudete (Jaén) and Asunción de María in Granada Cathedral (1615). These works demonstrate his exceptional skill in estofado, a technique involving the gilding and polychroming of statues and altarpieces.
One of Raxis's most famous works is Aparicion de la Virgen a San Jacinto, preserved in the Granada Museum of Fine Arts. This painting, dating from around 1600, represents a significant achievement in Raxis's artistic journey. It illustrates the mystical ecstasy and contemplative rapture characteristic of Spanish Baroque culture. The expressive depth and rich tonal range of the painting became more evident after its restoration in 1998.
Pedro de Raxis's influence extended beyond his paintings. Contemporaries such as Francisco Pacheco praised his mastery of estofado and gilding. Raxis established one of the most prolific and versatile workshops in Granada, which left an indelible mark on the artistic landscape of Andalusia.
For collectors and art experts, Raxis' work remains a testament to the rich cultural heritage of the Granada school. His paintings not only reflect the artistic fervor of the era, but also provide a glimpse into the religious and cultural world of Counter-Reformation Spain.
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Simon de Vos was a Flemish painter, graphic artist and art collector, a member of the Guild of St. Luke in Antwerp.
Simon de Vos specialized early in his career in cabinet and genre painting in the style of the Utrecht Caravagistes. His depictions of merry company and scenes from fables are well known. From about 1640 he increasingly painted large-scale religious, allegorical and historical scenes in the style of Peter Paul Rubens and Antoni van Dyck. Among his pupils was Jan van Kessel the Elder (1626-1679).
Simon de Vos was financially successful: by the end of his life he owned four estates in Antwerp and a collection of 290 paintings.
Rutilio di Lorenzo Manetti was an Italian painter of late-Mannerism or proto-Baroque, active mainly in Siena. He was influenced and/or taught by the local artists Francesco Vanni and Ventura Salimbeni. His style moved from one derived from Barocci to a more Caravaggesque manner after the first decade of the 17th century. Among his masterpieces are his contributions to the Casino Mediceo, which he worked alongside Matteo Rosselli, Giovanni Lanfranco, and Cesare Dandini. One of his pupils or followers is Stefano Volpi.
Santi di Tito was one of the most influential and leading Italian painters of the proto-Baroque style – what is sometimes referred to as "Counter-Maniera" or Counter-Mannerism. Santi completely rejected the maniera of Bronzino, and embraced a classical Reformist and naturalistic style. Santi's mature style is reflected in his masterpiece of the Vision of Saint Thomas Aquinas, also known as Saint Thomas Dedicating His Works to Christ located in the church of San Marco in Florence.
Tiberio di Tito was an Italian painter. He was the son and pupil of the late-Mannerist painter Santi di Tito. He specialized in portrait painting, including small pencil portraits, on which he was much employed by Cardinal Leopoldo de' Medici.
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.
Giovanni Battista (Giambattista) Foggini was an Italian sculptor active in Florence, renowned mainly for small bronze statuary.
Foggini's pupils included Fernando Fuga, his nephew Filippo della Valle, Balthasar Permoser, Giovacchino Fortini and Giovanni Baratta. Massimiliano Soldani Benzi was a contemporary student with Foggini in Rome and also active in small bronze sculpture.
Lavinia Fontana was a Bolognese Mannerist painter active in Bologna and Rome. She is best known for her successful portraiture, but also worked in the genres of mythology and religious painting. She was trained by her father Prospero Fontana who was a teacher at the School of Bologna. She is regarded as the first female career artist in Western Europe as she relied on commissions for her income. Her family relied on her career as a painter, and her husband served as her agent and raised their 11 children. She was perhaps the first woman artist to paint female nudes, but this is a topic of controversy among art historians.
Giuseppe Franco, an Italian painter active between 1565 and 1628, remains an enigmatic figure in the rich tapestry of art history. Known by various names, including Giuseppe Franchi, Giuseppe Monti, and Giuseppe dalle Lodole, his diverse monikers reflect the multifaceted nature of his work and the period's artistic fluidity.
Rooted in the transition from the Renaissance to the Baroque, Franco's artistry is characterized by its dynamic compositions and emotional intensity. While specific details of his oeuvre are less documented, his known works suggest a mastery of form and color, embodying the evolving styles of his time. Franco's paintings, presumably found in Italian churches and private collections, would offer a glimpse into the religious and cultural narratives prevalent during his lifetime.
Franco's contributions to art and culture are significant for their historical context and the light they shed on the period's aesthetic developments. His style, indicative of the early Baroque's emerging vibrancy, would have played a role in the transition from the classical harmony of the Renaissance to the expressive drama of the Baroque.
For collectors and experts in art and antiques, Giuseppe Franco's works represent a fascinating puzzle piece of history, bridging gaps between known artistic milestones. His paintings, if extant, would be prized not only for their beauty but also for their historical value, offering insights into the era's shifting paradigms.
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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.
Orazio Gentileschi, an Italian painter born in 1563 in Pisa, is celebrated for his contributions to the Baroque style, particularly after adopting Caravaggio's revolutionary approach. Initially, Gentileschi worked in a Mannerist style but evolved his technique to incorporate Caravaggio's focus on naturalism and dramatic lighting, which significantly influenced his later works.
Orazio Gentileschi's career took him across Italy and eventually to the courts of Paris and London, where he served under Queen Henrietta Maria of England. This period is marked by an elegant and refined style, distinct from his earlier, more naturalistic works. Notable paintings from his English period include "The Finding of Moses" and various ceiling paintings at the Queen's House in Greenwich.
Orazio's influence extended beyond his own artworks; he was part of a family of artists, with his daughter Artemisia Gentileschi also achieving prominence as a Baroque painter. His works continue to be appreciated for their compositional skill and the delicate interplay of light and shadow, reflecting the Baroque era's dramatic intensity and emotional depth.
For those interested in the rich tapestry of Baroque art, Gentileschi's oeuvre offers a fascinating study in the evolution of style from Mannerism to the heightened expressiveness of Caravaggio's naturalism. If you're keen on delving deeper into Orazio Gentileschi's art and legacy, consider subscribing for updates on exhibitions, sales, and scholarly insights into his work and its historical context.
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.
Abraham Govaerts was a Flemish painter who specialized in small cabinet-sized forest landscapes in the manner of Jan Brueghel the Elder and Gillis van Coninxloo. He was a regular collaborator with other artists who were specialists in specific genres. Govaerts would paint the landscape while these specialists painted the figures, animals or still life elements.
Marin le Bourgeoys was a distinguished French artist and inventor, renowned for his creation of the flintlock mechanism that revolutionized firearms for over two centuries. Born into an esteemed artisan family in Lisieux, Normandy, le Bourgeoys was initially trained as a painter, later gaining acclaim as a gunsmith, inventor, and luthier.
His talents soon caught the eye of royalty; in 1598, King Henry IV appointed him "Valet de Chambre" at the Royal Court, a testament to his esteemed position in the realms of art and innovation. Le Bourgeoys' ingenuity extended beyond the court; his flintlock mechanism, invented in the early seventeenth century, was a pivotal development in firearm technology. This mechanism featured a striking device that, when the trigger was pulled, would hit a firing pin to ignite the primer in the gun cartridge, a design so advanced that it remained in use for over two centuries.
As an artist, le Bourgeoys' work was not limited to the functional; he was also a creator of luxury items, a clock-maker, and embodied the spirit of an educated Renaissance humanist thriving in cultivated circles. His legacy in the art world is marked by works such as the portrait of Henri IV, which was recently acquired by the Musée de l'Armée, signifying the lasting appreciation of his artistic prowess.
For collectors, auctioneers, and experts in art and antiques, Marin le Bourgeoys' contributions to both art and firearm technology present a rich tapestry of historical and cultural significance. To stay informed on updates and discoveries related to Marin le Bourgeoys, sign up for our exclusive newsletter.
Gijsbrecht Leytens was a Flemish landscape painter of the Early Baroque period. He was famous for his depiction of winter landscapes, which were considered his speciality and were characterised by a highly individualised style. He is considered one of the least studied Flemish painters of the Antwerp School.
Geisbrecht Leitens became a member of the Guild of Saint Luke in Antwerp in 1611. From that time he was entitled to open his own workshop in the city and train apprentices.
The master carefully observed winter nature and birds and developed an individual manner which distinguished him from the philosophical generalisations of Pieter Bruegel the elder or the cosy details and findings of Lucas van Falkenborgh. Trees in his paintings are usually depicted covered in snow, often oddly shaped. The branches of the denuded trees are replete with representations of various birds. The artist's creative style may have been influenced by paintings from the Dutch Mannerism period.
Alessandro Magnasco was an Italian painter, one of the most prominent representatives of Genoese Mannerism. In his time he was better known under the nickname Lissandrino (il Lissandrino).
Magnasco painted pictures of nature: grandiose ancient ruins, romantic waterfalls, gorges, forest huts - landscapes populated by small figures of vagabonds in rags, soldiers, travelling monks and beggars with characteristic elongated proportions, walking woodcutters, porters, laundresses. Magnasco's style was close to the searches of Venetian painters of the 18th century.
Girolamo Massei was an Italian painter who worked in the Mannerist style. His style was strongly influenced by the works of Michelangelo and Parmigianino, and he often incorporated elements of classical art into his works.
Girolamo Massei was known for his decorative frescoes and oil paintings, which were often characterised by rich colours, complex compositions, dynamic poses and dramatic lighting effects.
Throughout his career, Massei received numerous commissions and his works can be found in churches, palaces and museums throughout Italy.
Joos de Momper the Younger was a Flemish landscape painter active in Antwerp between the late 16th century and the early 17th century. Brueghel's influence is clearly evident in many of de Momper's paintings. His work is situated at the transition from late 16th-century Mannerism to the greater realism in landscape painting that developed in the early 17th century. He achieved considerable success during his lifetime.
Cornelis Cornelisz. van Haarlem was a Dutch painter, draftsman, and architect. Along with Karel van Mander and Hendrik Goltzius, he is one of the leading artists of the Dutch Mannerism of the Haarlem School, more commonly referred to as Cornelis van Haarlem.
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.
Antón Pizarro was a Spanish painter and printmaker, renowned for his significant contribution to the 'Tenebrismo Toledano' style, a term referencing the distinct use of dramatic illumination in Toledo's art scene. Born around 1552 and active until his death in 1622, Pizarro's life was deeply intertwined with the artistic currents of Toledo, a city that shaped his unique style.
Pizarro's oeuvre, though not extensively documented, reflects the influence of his contemporaries and the broader artistic movements of his time. His works, such as the 'Institución de la Orden Trinitaria por Inocencio III en 1190', showcased at Madrid's prestigious Museo del Prado, highlight his mastery in handling religious themes with a characteristic blend of realism and emotional depth. This particular work, along with others like the 'Nacimiento de la Virgen' and the 'Presentación de la Virgen', reveal a style that balances between Mannerist influences and an early inclination towards naturalism.
Interestingly, his approach to portraiture, as seen in 'Caballero con su hijo', presents a nuanced use of light and shadow, possibly hinting at El Greco's influence. This piece, alongside his contributions to printmaking, such as the illustrations for 'El glorioso San Ildefonso', underlines Pizarro's versatility across different mediums.
For art collectors and experts, Pizarro's work represents a fascinating intersection of Mannerist and early Baroque tendencies. His paintings, characterized by elongated proportions and a warm color palette, not only embody the artistic spirit of Toledo in the late 16th and early 17th centuries but also offer a window into the transitional phase of Spanish art.
If you're keen to explore more about Antón Pizarro's works or stay informed about upcoming sales and auction events related to this remarkable artist, we invite you to sign up for our updates. Our focus remains on bringing to light the works of such historical figures, ensuring that enthusiasts and collectors are always in the loop.
Bernardino Poccetti also known as Barbatelli, was an Italian Mannerist painter and printmaker of etchings. He was initially trained as a decorator of facades and ceilings, enrolling in 1570 in the Florentine painters guild for such work. In 1592–93, he worked on frescoes in the Certosa di Galluzzo relating to Life and Death of San Bruno. He painted scenes from the life of founder of the Convent of the Servites for the Annunziata. In his later works, he is considered one of the Florentine reformers—the so-called Counter-Maniera (Counter-Mannerism).
Camillo Procaccini was an Italian painter. He has been posthumously referred to as the Vasari of Lombardy, for his prolific Mannerist fresco decoration. He was the son of the painter Ercole Procaccini the Elder, and older brother to Giulio Cesare and Carlo Antonio, both painters.
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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Jean Raoux was a French painter.
After the usual course of training he became a member of the Academy in 1717 as an historical painter. His reputation had been previously established by the acclaimed decorations executed during his three years in Italy on the palace of Giustiniani Solini in Venice, and by some easel paintings, the Four Ages of Man (National Gallery), commissioned by the grand prior of Vendôme. To this latter class of subject Raoux devoted himself, refusing to paint portraits except in character. The list of his works is a long series of sets of the Seasons, of the Hours, of the Elements, or of those scenes of amusement and gallantry in the representation of which he was immeasurably surpassed by his younger rival Watteau. After his stay in England (1720) he lived much in the Temple, where he decorated several rooms.
Christian Richter was a German painter of the first half of the 17th century. He is known as a painter and graphic artist, landscape and portrait painter, a member of the Saxon dynasty of Richter painters and architects.
Richter imitated the old style of Lucas Cranach and other sixteenth-century German artists. One of the most indicative of his work is Portrait of a Young Lady in a Hat with Feathers. The work of the artist attracted the attention of art historians in the late XX century, about his painting "The Washing of Neeman in the Jordan" published a collective collection, then on its basis was made a TV movie.
Cristoforo Roncalli was an Italian mannerist painter. He was one of the three painters known as Pomarancio or Il Pomarancio. Most of his fresco work was in Rome, though he worked for a decade in Loreto, where he decorated the New Sacristy.
Matteo Rosselli was an Italian painter of the late Florentine Counter-Mannerism and early Baroque. He is best known however for his highly populated grand-manner historical paintings. He first apprenticed with Gregorio Pagani. On 26 February 1599, he was inducted to the Accademia del Disegno, and in 1605 traveled to Rome to work with Domenico Passignano for six months. He completed some frescoes on The Legend of the Origin of the Servite Order in the Palazzo Pitti and in the Cloister of the Basilica della Santissima Annunziata; a Madonna and child with St Francis altarpiece for the Church of Santa Maria Maggiore in Florence.
Roelant Savery was a Flanders-born Dutch Golden Age painter.
Savery primarily painted landscapes in the Flemish tradition of Gillis van Coninxloo, often embellished with many meticulously painted animals and plants, regularly with a mythological or biblical theme as background. He also painted multiple flower still lifes; bouquets in stone niches, sometimes with lizards such as Flowers with Two Lizards, insects or fallen petals and regarded as his best work.
His unique style of painting, related to the then reigning Mannerism, has been highly popular with collectors and can be found in many museums in Europe and North America. His preparatory drawings are also valued highly.
Jacob Savery the Elder was a Flemish painter, etcher and draughtsman. He was trained in Antwerp and later moved to the Dutch Republic after 1584. He specialised in still lifes, animals, landscapes en genre paintings.
Jacob’s earliest known works of 1584-86 are mostly cabinet-size landscapes that clearly show the influence of his master Hans Bol.
In Amsterdam Jacob was active as painter, etcher and draftsman. He produced a series of etchings in Pieter Bruegel the Elder's stipple technique depicting idealized rural scenes full of picturesque details, such as castle ruins and rabbit hunts.
Pietro Sorri was an Italian painter active in Siena. He first studied under Arcangelo Salimbeni and afterwards under Cavaliere Domenico Passignano. Several of his works are in Florence and other cities of Tuscany, particularly at Pisa; he painted landscapes and portraits as well as history. He painted an altarpiece for the church of San Ambrogio in Massa di Carrara.
Pieter Stevens the Younger was a Flemish painter and draughtsman known for his landscapes. He left Flanders to work for the court of Emperor Rudolf II in Prague. The circulation of prints made after a series of romantic Bohemian landscape drawings by Stevens and other artists had an important influence on the development of Flemish and Dutch landscape art in the 17th century.