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Article

Dutch, 17th century, male.

Died between 1658 and 1661, in Amsterdam.

Painter, art dealer.

In 1640, Jan Dammeron worked in Amsterdam.

Article

Ismael Gutiérrez Pastor

(b Valladolid, 1586; d Valladolid, Dec 1660).

Spanish painter and collector. He was the son and pupil of the painter Pedro Díaz Minaya (c. 1555–1624), who worked in Valladolid, the location of Philip III’s court from 1600 to 1606. For more than 50 years, Diego Valentín Díaz was Valladolid’s most important painter, producing a great number of religious works and portraits containing colourful imagery; many of these are widely dispersed in collections and churches throughout Spain. Although his early works were executed in a style of late Mannerism, he gradually introduced more naturalistic elements, resulting in paintings with precise drawing, a varied but rather dull colouring, an emphasis on decorative details and a sweet expression on the faces of his religious figures. His earliest surviving works are the altarpiece (1608) of the convent of S Catalina, Valladolid, and the Martyrdom of St Sebastian and the Penitent St Peter (both 1610; Zamora, Hosp. Encarnación). In ...

Article

Ismael Gutiérrez Pastor

(b El Escorial, Madrid, 1590; d Madrid, 1679).

Spanish painter and collector of Flemish descent. He was the grandson of Anton van Wingaerde and was trained in Madrid in the family tradition. After the death of Bartolomé González in c. 1627–8, he aspired to occupy the vacant post of Pintor del Rey, having served as Arquero de Corps since 1611. In spite of his lengthy career as a painter, his work is scarce. In 1620 a portrait of Philip III (untraced) is documented. Among his other works are SS Isidore, Teresa, Philip Neri, Ignatius and Francis Xavier (untraced) and a series of six canvases (e.g. St Mark, 1627) in the chapel of Mosén Rubí de Bracamonte, Ávila. A portrait of Doña María Gasca de la Vega (Pastrana, Colegiata), depicting the sitter kneeling, was also painted in the 1620s; its horizontal format is similar to the Mater Dolorosa with St John and the Magdalene (1645; Madrid, Convento de la Encarnación). Two dated portraits survive of male members of the Ibarra family (both ...

Article

Dutch, 16th – 17th century, male.

Painter, collector.

Ferreris, who lived in Leiden, was a pupil of Antonio Moro and of Peeter and Frans Pourbus. His collection of paintings included works by Hans Holbein, Lucas van Leyden, Cornelis van Haarlem and others.

Article

Oliver Millar, Diana Dethloff and Lin Barton

(b Soest, Westphalia, Sept 14, 1618; d London, Nov 30, 1680).

Dutch painter, draughtsman, and collector, active in England. By a combination of ability and good fortune, he rapidly established himself in mid-17th-century London as the natural successor in portrait painting to Anthony van Dyck. Between van Dyck’s death in 1641 and the emergence of William Hogarth in the 1730s, Lely and his successor, Godfrey Kneller, were the leading portrait painters in England. After the restoration of the monarchy in 1660, Lely dominated the artistic scene, and his evocation of the court of Charles II is as potent and enduring as was van Dyck’s of the halcyon days before the English Civil War. Although Lely’s reputation was seriously damaged by portraits that came from his studio under his name but without much of his participation, his development of an efficient studio practice is of great importance in the history of British portrait painting. The collection of pictures, drawings, prints, and sculpture he assembled was among the finest in 17th-century England after the dispersal of the legendary royal collections....

Article

Edgar Peters Bowron

(b Florence, Nov 17, 1666; d Rome, June 17, 1724).

Italian painter, draughtsman, collector, dealer and teacher. He was one of the most significant and influential artists active in Rome in the first quarter of the 18th century. The son of a Florentine artisan, he trained in his native city under the direction of Anton Domenico Gabbiani and thoroughly absorbed the style of Pietro da Cortona and his late Baroque successors. In 1690 he left Florence for Rome, where in 1692 he made his artistic début in the annual St Bartholomew’s Day exhibition with a monumental painting of God Cursing Cain after the Murder of Abel (Kedleston Hall, Derbys). He quickly rose to prominence and in 1694 was elected to the Accademia di S Luca. He produced a variety of works for the leading Roman families—the Torri, Colonna, Pallavicini, Barberini and Odescalchi—and enjoyed the patronage of Pope Clement XI, Cardinal Pietro Ottoboni, Cardinal Carlo Agosto Fabbroni and Padre Antonin Cloche, Master General of the Dominican Order. He was invited to participate in the most important papal commission to painters in Rome in the first quarter of the 18th century, that for the series of Old Testament prophets above the nave arcade in S Giovanni in Laterano; his contribution was ...

Article

(bapt Seville, March 3, 1627; d Seville, May 9, 1679).

Spanish patron, painter and writer. He was the most remarkable of the patrons of the Baroque period in Seville. He came from a wealthy family, and his father owned an unremarkable collection of paintings. Mañara was a painter of some ability; his works were in several Sevillian collections. He led a dissolute existence until a series of family deaths prompted him to repent and adopt a devout and ascetic way of life. In 1662 he joined the Hermandad de la Santa Caridad, a Sevillian confraternity dedicated to providing Christian burial for criminals condemned to death. The following year he was elected head of the brotherhood, retaining the post until his death. Under Mañara’s leadership the brotherhood became a dominant spiritual and social force in caring for the sick and poor of Seville. He oversaw all aspects of the society’s activities, from writing the new rule to raising funds for new buildings. He paid close attention to the completion and decoration of the church in the Hospital de la Caridad (...

Article

Filippo Pedrocco

(b Verona, April 30, 1663; d Verona, Jan 27, 1738).

Italian painter and agent. He is traditionally believed to have trained with Biagio Falcieri (1628–1703). At the age of 17 he moved to Bologna, where he entered the workshop of Carlo Cignani. His first commission after his return to Verona was for the fresco decoration of the vault of S Domenico (1687), with scenes glorifying the saint, set in a quadratura framework by Carlo Tedesco. The style is heavily Baroque. In 1690–91 Marchesini painted a Jonah for S Niccolò, Verona; this remains within a Veronese tradition, whereas his Assumption of the Virgin for S Biagio (1692; Breonio, SS Marziale e Giovanni) and his Purification of the Virgin (1699; Verona, Pal. Scaligero, Notai Chapel) contain references to the Bolognese art of the Carracci.

In 1700 Marchesini moved to Venice, where he painted two works (untraced) for S Silvestro. He remained in Venice until 1737 and specialized in making small-scale copies of works by the Old Masters to decorate private houses, thereby imitating a wide variety of styles. His most memorable independent works are the two paintings of ...

Article

Dutch, 17th century, male.

Active in The Hague.

Born c. 1648.

Painter, collector.

Michelet was a pupil of Cornelis Monincx.

Article

Flemish School, 17th century, male.

Born 1 May 1602, in Antwerp; died 21 October 1653.

Painter, engraver, art dealer.

Recorded in the register of the Antwerp painters' guild as a pupil of Rubens, Jacques Moermans married Maria Schut in 1626 and qualified as master in ...