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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 "... |
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... |
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... |
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 Mand... |
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... |
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 ... |
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 g... |
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 d... |
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 A... |
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... |
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 ... |
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 ... |
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 th... |
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 ... |
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 (Cruci... |
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 cope... |
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 canva... |
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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