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Painter active in Italy. His nationality is not known. He was a follower of Caravaggio, and his rare works reveal a highly original and idiosyncratic response to that artist’s naturalism. Agostino Tassi mentioned him as involved, with several French artists, in the decoration of the Villa Lante at Bagnaia between ...

Article

Italian painter. He trained first with Matteo Ponzoni, then with Sebastiano Mazzoni; Mazzoni encouraged the development of a Baroque style, but Celesti was also attracted by the naturalism of the tenebrists. The first known works by Celesti are mature in style, and he had already achieved considerable fame in Venice when the Doge ...

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Francesco Frangi

Italian painter. He is best known for his dramatic oil paintings executed in a unique style of Caravaggesque realism modified by the elegance of Lombard Late Mannerism. He also adopted elements of a robust and unsophisticated realism from Piedmontese art, as is evident in his frescoes for the ...

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Fabio Bisogni

Italian painter, draughtsman and printmaker. His early art drew on a variety of sources, which included the naturalism of Rutilio Manetti and Francesco Rustici, the descriptive realism of the engraver Giuliano Periccioli (d 1646) and the Baroque of Raffaelle Vanni. Mei’s interests even embraced 16th-century Sienese art. This stylistic variety is evident in his first known works, such as a bier (Casole d’Elsa, Collegiata), three signed miniatures in the ...

Article

Federica Lamera

Italian painter. He was a pupil in Genoa of Giovanni Andrea de’ Ferrari and perhaps also of Giulio Benso, from whom he acquired an inclination towards narrative and naturalism. Later he entered the workshop of Valerio Castello. About 1651 Merano went to Parma to study the works of Correggio and Parmigianino. Here he painted two oval frescoes of ...

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Richard C. Green

Italian painter and draughtsman. He was the son of the painter Giovanni Molinari (1633–87) and studied in Venice with Antonio Zanchi. His style had its origins in the naturalism and tenebrism of Neapolitan painting, introduced to Venice in the mid-17th century. Although his work always retained some traces of this naturalism, the typically violent subject-matter and intensity of the Neapolitan style were considerably tempered by the addition of classicizing elements and of rich, glowing colours. By the 1680s Molinari had developed his characteristic manner of depicting figures in poses of extreme torsion and vigorous movement, arranged in graceful compositions. His subject-matter included episodes from the Old and New Testaments, antiquity and Classical mythology. His classical idiom was most pronounced in his large canvases painted for churches, such as the ...

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Manuela B. Mena Marqués

Spanish painter and draughtsman. He combined 17th-century realism with a taste for serene, sweet and sentimental beauty. His large output of religious works included numerous treatments of the Immaculate Conception, and he was also one of the greatest portrait painters of his time. However, his fame abroad was established most especially by his genre pictures of children. His works were highly prized by collectors, particularly in the 18th century, and his painting, which was well known in other European countries, particularly England and France, served as an example to such artists as Gainsborough, Reynolds and Greuze....

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John J. Chvostal

Italian painter. He is best known for his jewel-like paintings representing sacred and secular themes, which combine a delicate technique inspired by Adam Elsheimer with a note of observed realism owed to Caravaggio. He also painted altarpieces and worked in fresco.

By 1598 Saraceni had moved from Venice to Rome, where he studied with ...

Article

Italian painter. He played an important role in the spread of Caravaggism to Naples and in the development away from Late Mannerism to a greater naturalism. He was the son of the painter and gilder Sebastiano Sellitto, and he was apprenticed briefly to the Piedmontese painter ...

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Ivo Kořán

Bohemian painter. He was the foremost painter of mid-17th-century Bohemia, combining an experience of Italian art with a distinctive realism in altarpieces and portraits.

Škréta was the son of a royal clerk; his first mentors were probably artists of the court of Rudolf II, maybe the engraver ...