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Triumph in the Name of Jesus (1674–1679), Church of the Gesù, Rome |
Four Cardinal Virtues, Sant' Agnese, Rome |
Self-portrait, Uffizi, Florence |
Portraits of seven consecutive popes: |
Pope Alexander VII |
Pope Clement IX |
Pope Clement X |
Pope Innocent XI |
Pope Alexander VIII |
Pope Innocent XII |
Pope Clement XI |
Gallery |
References |
Citations |
Bibliography |
External links |
Artcyclopedia |
Barent Avercamp (1612 – October 1679) was a Dutch painter. |
Avercamp was born in Kampen and was taught by his uncle Hendrick Avercamp, who was also a painter. Barent primarily painted scenes depicting Netherlands in winter. He was a member of the Guild of Saint Luke, and traveled around the Netherlands including Zwolle and Zutphen for his settings and inspiration. |
== References == |
Barthel Beham (or Bartel) (1502–1540) was a German engraver, miniaturist, and painter. |
Biography |
The younger brother of Hans Sebald Beham, he was born into a family of artists in Nuremberg. Learning his art from his elder brother, and Albrecht Dürer, he was particularly active as an engraver during the 1520s, creating tiny works of magnificent detail, positioning him in the German printmaking school known as the "Little Masters". He was also fascinated with antiquity and may have worked with Marcantonio Raimondi in Bologna and Rome at some time in his career. |
In 1525, along with his brother and Georg Pencz, the so-called "godless painters", he was banished from Lutheran Nuremberg for asserting his disbelief in baptism, Christ, or transubstantiation. Although later pardoned, he moved to Catholic Munich to work for the Bavarian dukes William IV and Ludwig X. Whilst there, his exceptional talent established him as one of Germany's principal portrait painters, favoured by distinguished patrons such as Emperor Charles V. |
According to Joachim von Sandrart, he died in Italy during a trip under the patronage of Duke William. |
Gallery |
See also |
Christ and the Sheep Shed a polemical woodcut |
References |
Further reading |
Röver-Kann, A. (2021), Schoch, R. (ed.), Barthel Beham, The new Hollstein German engravings, etchings and woodcuts, 1400–1700, vol. 15, ISBN 978-94-91539-76-3 |
External links |
Barthel Beham at Artcyclopedia |
Bartholomeus Spranger or Bartholomaeus Spranger (21 March 1546 – 1611) was a Flemish painter, draughtsman, sculptor, and designer of prints. Working in Prague as a court artist for the Holy Roman emperor Rudolf II, he responded to his patron's aesthetic preferences by developing a version of the artistic style referred to as Northern Mannerism. This style stressed sensuality, which was expressed in smoothly modeled, elongated figures arranged in elegant poses, often including a nude woman seen from behind. Spranger's unique style combining elements of Netherlandish painting and Italian influences, in particular the Roman Mannerists, had an important influence on other artists in Prague and elsewhere, in particular the Dutch Republic, as his paintings were disseminated widely through prints as well as by artists who had worked with him such as Karel van Mander. |
Life |
Bartholomeus Spranger was born in Antwerp as the third son of Ioachim Spranger and Anna Roelandtsinne. His father was a trader who had spent time abroad including a long stint in Rome. Showing a keen interest in drawing, he was first apprenticed with Jan Mandijn, where he stayed for 18 months. Upon the death of Mandijn, Spranger studied for some time with Frans Mostaert who died after only a few weeks. He finally studied with Cornelis van Dalem for two years after which he stayed on for another two years in the workshop of van Dalem. As his three masters were mainly known as landscape painters. Spranger further copied prints of Frans Floris and Parmigianino. He traveled to Paris on 1 March 1565 where he worked for six weeks in the workshop of Marc Duval. He then travelled on to Italy, where he first stayed for eight months in Milan. He then worked for three months in Parma as an assistant to Bernardino Gatti on the painting of the dome of the Santa Maria della Steccata |
He worked on wall paintings in various churches. In Rome he became, like El Greco, a protégé of Giulio Clovio. Here he also met Karel van Mander who later included a biography of Spranger in his Schilder-boeck, first published in 1604 and containing, amongst others, biographies of important Netherlandish painters. Pope Pius V appointed him court painter in 1570. He was summoned to Vienna by Maximilian II, Holy Roman Emperor, who died soon after his arrival in 1576. |
Maximilian II's successor Rudolf II was even more keen to employ him. In 1581 he was appointed court painter and also valet de chambre after the court had moved its seat to Prague. There he remained until his death in 1611, shortly before Rudolf was deposed. Spranger occupied a house just outside the castle walls. |
Just like Anselmus Boetius de Boodt (1550–1632), the Flemish gemologist and physician, the artist developed a close personal relationship with Rudolf and the two spent many days together engaged in conversation. The emperor would regularly visit Spranger's studio. He bestowed on Spranger the coat of arms of a liegeman in 1588 and granted him a hereditary title in 1595. In the meantime, Spranger supplied the emperor with a continuous stream of paintings of mythological scenes with nudes drawn from nature as well as propaganda pieces which extolled the virtues of Rudolf as a ruler. An example of a work combining the two elements of eroticism and propaganda is the Allegory of the virtues of Rudolf II (Kunsthistorisches Museum) which shows Bellona (the Roman goddess of war) sitting on a globe surrounded by Venus, Amor, Athene and Baccus and emblems symbolising Hungary and the Croatian river Sava. The propagandic message is that the empire is safe with Rudolf at the helm. Thanks to the emperor's patronage, Spranger became very wealthy and owned many properties by the time he died. |
Spranger married Christina Müller, the daughter of a rich jeweller from Prague in 1582. His wife died in 1600 after all their children had died. This sad story is depicted in Aegidius Sadeler's Portrait of Bartholomeus Spranger with an Allegory on the Death of his Wife. |
Work |
Spranger's paintings for Rudolf mostly depict mythological nudes in various complex poses, with some connection to the Emperor's esoteric Late-Renaissance philosophical ideas. His paintings are the most characteristic of the final phase of Northern Mannerism. By far the best collection is in Vienna. His drawings have great energy, in a very free technique. |
Spranger also worked as a sculptor. He may have acquired his knowledge of sculpture through his collaboration with the Flemish sculptor Hans Mont, who also worked at the Prague court. After Mont left the Prague court, Spranger appears to have worked intermittently as a sculptor for the emperor, at least until Adriaen de Vries arrived in Prague in 1601. A terracotta relief of the 'Body of Christ Supported by an Angel' (Courtauld Gallery) is by his hand. The Walters Museum holds a bronze 'Achelous and Deianeira' which is attributed to him. There is no record of any sculpture by Spranger in Rudolf II's collection. |
Aegidius Sadeler, who lived in his house in Prague for some time, and Hendrik Goltzius made engravings of his paintings, spreading Spranger's fame around Europe. |
Collections |
Much the best collection is in the Kunsthistorisches Museum in Vienna, mostly from the Imperial collection. Most museum print rooms have examples of his prints - he featured heavily in the British Museum's 2022 exhibition on art at Rudolf's court, for instance. There are three oil paintings by Spranger in the Blanton Art Museum in Austin, Texas (Saint Catherine, Saint Ursula, Saint Margaret), along with Memento mori in the Wawel Castle Museum in Cracow, Poland and Epitaph of Nicolas Müller, Goldsmith of Prague in the National Gallery Prague. |
References |
External links |
Media related to Bartholomeus Spranger at Wikimedia Commons |
Bartolomeo Altomonte, also known as Bartholomäus Hohenberg (24 February 1694, in Warsaw – 11 November 1783, in Sankt Florian), was an Austrian baroque painter who specialized in large scale frescoes. He was the son of Martino Altomonte, also a painter. |
Biography |
Altomonte was born in Warsaw, where his father, Martino Altomonte, had been appointed to the court of Jan Sobieskis. He was the third of six children. |
He learned from assisting his father at painting, but also from an apprenticeship with Daniel Gran. |
He studied with Benedetto Luti in Rome and in Naples with Francesco Solimena. A sketchbook compiled by Altomonte while with Luti is in the Albertina. |
From 1722 he lived in Austria. Altomonte spent most of his life in Linz and worked primarily in Austrian monasteries such as St. Florian's Priory and Admont Abbey. In 1747 he painted a ceiling fresco for the library at St. Florian's. |
Other frescoes and altarpieces he painted for the convents of Wilhering, Herzogenburg, for the cathedral of Sankt Pölten, and for churches in Vienna. In Seitenstetten Abbey the frescoes on the Grand Staircase are by Altomonte. Around 1740, he did an oil on canvas painting of the Wunder des heiligen Nikolaus for Neuberg Abbey. |
Tendencies towards the rococo remained foreign to the artist all his life; he is considered one of the last great painters in the manner of the baroque allegory. |
Works |
References |
Bibliography |
External links |
Entry for Bartolomeo Altomonte on the Union List of Artist Names |
Bartolomeo Cavarozzi (1587–1625), occasionally referred to as Bartolomeo Crescenzi, was an Italian caravaggisti painter of the Baroque period. Cavarozzi's work began receiving increased admiration and appreciation from art historians in the last few decades of the 20th century, emerging as one of the more distinct and original followers of Caravaggio. He received training from Giovanni Battista Crescenzi in Rome and later traveled to Spain alongside his master for a few years where he achieved some renown and was significant in spreading "Caravaggism" to Spain before returning to Italy. His surviving works are predominantly Biblical subjects and still-life paintings, although older references note he "was esteemed a good painter especially of portraits". |
Biography |
Bartolomeo Cavarozzi was born 15 February 1587 in Viterbo in the Lazio region of central Italy. It is believed that he arrived in Rome as a child and received some of his earliest training from Tarquinio Ligustri. One source attributes his training to Guercino (Gian Francesco Barbieri called Guercino da Cento) however that was likely in error as Cavarozzi was four years older than Guercino. The earliest of his known works, Santa Ursula and his companions with Pope Ciríaco and Santa Catalina de Alejandría (1608) was painted for the church of the Confraternity of Sante Orsola e Caterina (now in Basilica of St. Mark the Evangelist, Rome) and shows the influence of Cristofano Roncalli (one of three painters sometimes referred to as Il Pomarancio). |
At some point before 1617, Bartolomeo Cavarozzi was taken in and living in the palace of a Roman nobleman Giovanni Battista Crescenzi. Crescenzi was a painter and architect who had established an academy in Rome for young painters in the vicinity of the Pantheon, where he taught drawing and art. Much of the training there was focused on drawing directly from life curious and beautiful objects provided by Crescenzi such as fruits, vegetables, animals, and such found around Rome. An example of Cavarozzi's still-life painting is Grape Vines and Fruit, with Three Wagtailsca (ca. 1615–18) in the Metropolitan Museum of Art, New York. His still-life paintings have been said to be "important for the history of still-life painting in both Italy and Spain". Among Cavarozzi's finest work is a painting of Saint Jerome with Two Angels, which was purchased in 1617 by the Medici in Florence. The training Cavarozzi received at Crescenzi's academy can be seen in the still life with skull, rosary, books, and crucifix on the worm-eaten table. Also evident is Caravaggio's style in the remarkable handling of light in the Saint Jerome painting. One author suggested Cavarozzi was the painter known as the Master of the Acquavella Still Life, one of the finest still-life painters of early seventeenth-century Rome, but, this attribution is not universally accepted. |
In 1617 Giovanni Battista Crescenzi traveled to Spain to work in the Pantheon of the Escorial and in this period he was significant in defining artistic taste in the Madrid court. Crescenzi brought Cavarozzi with him to Spain where they worked for approximately two years. The paintings Cavarozzi produced in Spain show Caravaggio's use of naturalistic figures in raking light and darkness however, he developed a distinguishing style of his own, which among other things was less inclined toward drama and leaning more to tender and reserved figures. The Holy Family with Saint Catherine of Alexandria (1618) in the Prado Museum, Madrid dates from Cavarozzi's time in Spain. |
Some have observed the influence of Cavarozzi in the early works of the Spanish painter Jusepe de Ribera, who conversely would have seen Cavarozzi's work in Italy, just before or about the time Cavarozzi left for Spain. Included among these are some of Ribera's paintings of Saints and particularly in The Calvary (Crucifixion) [see external links below] in the Patronato de Arte Osuna, Seville: "A striking similarity can be found in the figure of Mary Magdalen – especially in the treatment of her luxurious green and yellow clothing – to the style of the Roman artist Bartolomeo Cavarozzi (ca. 1590–1625) in the years immediately prior to his trip to Spain (1617–18)". |
Cavarozzi returned to Rome in 1619. He was active in Rome and in his home town of Viterbo where he produced a painting of Saint Isidore for the Chiesa Collegiata di Sant'Angelo in Spata, and in 1622 his painting of the Visitation was installed in Viterbo which now hangs in the Town Hall chapel. He is known to have coped his own work, and in the case of one painting of the Holy Family "almost ad nauseam". He died in Rome on 21 September 1625 at the relatively young age of thirty-eight. |
Other works include a San Silvestro for the Church of the Confraternity of Jesus; a St Phillip Apostle for the Church of San Pietro del Castagno; a St Benedict for the lateral door of the Church of Monasterio della Duchessa; a Presentation at the Temple for the Church of the College of Doctors, and also painted a canvas for the Chapel of the Calabresi family in the church of Sant'Ignazio. A contemporary from Viterbo, Filippo Caparozzi, was a disciple of Giuseppe d'Arpino. |
Gallery |
Works |
St Ursula and Her Companions with Pope Ciriacus and St Catherine of Alexandria (1608, San Marco, Rome), size: 256 x 17 cm. |
Guardian Angel (Ángel guardián) (Museo Nacional de Bellas Artes, Buenos Aires) |
Aminta's Lament (1614–15, private collection) |
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