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German, 17th century, male.

Born in Dresden.

Painter, engraver.

Trained from 1611 to 1622 under a goldsmith, but then went over to painting. He did a portrait of Johann Zechendorf, rector and professor in Zwickau, which he engraved from the painting. This work shows him to have been uncommonly gifted....


French, 17th century, male.

Goldsmith, painter (including enamel).

Barier worked in the second half of the 17th century in Laval and Paris. He is mentioned by Mariette in his Abecedario.


Matilde Amaturo

(b Mantua, Sept 23, 1690; d Mantua, Aug 18, 1769).

Italian painter. He was the son of the goldsmith Giovanni Bazzani and trained in the studio of Giovanni Canti (1653–1715). Giuseppe was a refined and cultivated artist (Tellini Perina, 1988) and as a young man profited from the rich collections of art in Mantua, studying the works of Andrea Mantegna, Giulio Romano, 16th-century Venetian painters, especially Paolo Veronese, and Flemish artists, above all Rubens. His earliest works, for example the Assumption (Milan, priv. col., see Caroli, pl. 20), reveal an affinity with contemporary Venetian painters such as Giovanni Battista Piazzetta, Federico Bencovich and Andrea Celesti, but Bazzani rapidly absorbed the influence of Antonio Balestra, Domenico Fetti and most of all Rubens and Veronese. The inspiration of the last two artists is apparent in a number of works that may be dated in the 1720s and early 1730s. These include the Miracles of Pius V, the Conversion of a Heretic...


Swiss, 17th century, male.

Active in Zurich at the end of the 17th century.

Engraver, draughtsman, goldsmith.

There is mention of four portraits by Johann Heinrich Bodmer.


Charles Robertson

[Suardi, Bartolomeo]

(b ?Milan, c. 1465; d Milan, 1530).

Italian painter and architect. He was one of the leading artists in Milan in the early 16th century. His early training as a goldsmith may indicate a relatively late start to his activity as a painter, and none of his work may be dated before 1490. The style of his early work parallels that of such followers of Vincenzo Foppa as Bernardino Butinone, Bernardo Zenale and Giovanni Donato da Montorfano. He assumed the name Bramantino very early in his career, indicating that he was in close contact with Donato Bramante, whose influence is uppermost in his early work.

Bramantino’s earliest surviving painting is probably the Virgin and Child (Boston, MA, Mus. F.A.). It is an adaptation of a type of half-length Virgin with standing Christ Child well known in Milan. The linear emphasis and the dramatic treatment of light are aspects derived from Bramante’s work. Bramantino stressed graphic quality in this picture, and throughout his early work he was considerably influenced by Andrea Mantegna and by the visual aspects of prints. His ...


French, 17th century, male.

Born 5 January 1618, in Blois; died after 1683, probably in Paris, in 1692 according to the Larousse Dictionary.

Painter, miniaturist, goldsmith. Flowers.

Pierre Chartier, who established himself as an artist in Paris in 1651, was an excellent flower painter. E. Molinier attributes a plaque in a Dresden museum to him....


Swiss, 17th century, male.

Born 26 July 1636, in Lucerne.

Goldsmith, painter.

Dr Carl Brun believes that this goldsmith is one and the same person as a Lucerne painter by the name of Benedikt Claus, who lived in Vienna from 1684 to 1688, where he gave lessons to the painter Kupetzky....


Elisa Acanfora

(b Florence, Aug 10, 1583; d Florence, March 3, 1643).

Italian painter, draughtsman and architect. He was the son of Maria Margherita Chiosi, a Florentine woman, and Regolo Coccapani, a nobleman of Carpi who worked as a goldsmith on the Ponte Vecchio, Florence. Sigismondo studied under the architect Bernardo Buontalenti and studied painting with Lodovico Cigoli, with whom he collaborated on the fresco decoration (c.1610–12) in the dome of the Pauline Chapel in S Maria Maggiore in Rome. His first known independent work is the frescoed lunette in the cloister of the convent of S Marco, Florence, depicting St Antonino Taking Money away from Two False Mendicants (1613). Between 1615 and 1617 he received payments for the painting of Michelangelo Crowned by the Arts on the ceiling of the Galleria in the Casa Buonarroti; in the same years he painted the Adoration of the Magi, initialled and dated 1617 (Signa, S Maria in Castello). Other initialled and dated paintings include ...


Kristen Lippincott

[Baldassare da Reggio]

(b Reggio Emilia, bapt June 20, 1432; d after Jan 29, 1506).

Italian painter and medallist . He was brought up as the adopted son of a certain Giovanni Bonayti, but a document of 1489 records him as the (illegitimate) son of Niccolò III d’Este, Marquis of Ferrara. In most documents, however, he is called ‘Baldassare da Reggio’.

Baldassare is first recorded as a painter in a document of 16 January 1461 from the Visconti Sforza ducal registers in Milan, in which he is given permission to travel for two years. This suggests that he had been working for the Dukes of Milan for some time. In 1466, he was paid two lire for an altarpiece for the Ospedale Maggiore in Milan. In February 1469 he painted portraits of Galeazzo Maria Sforza, Duke of Milan and his wife, Bona of Savoy, in the ducal castle at Pavia.

In late September 1469, with high recommendations from Galeazzo Maria (in a letter of 5 June 1469...


Mark M. Salton

[Costanzo de Moysis; Costanzo Lombardo]

(b Venice, c. 1450; d ?Naples, after 1524).

Italian medallist and painter. It is generally believed that he is the painter also known as Costanzo Lombardo, recorded in Naples c. 1484, and Costanzo de Moysis, described as a painter from Venice and recorded painting in Naples in 1483 and frescoing the Story of the Prince of Rossano (destr.) in the Villa Duchesca in 1488 (Strazzullo). Most of the information about him comes from a letter dated 24 August 1485 from Battista Bendidio, the Ferrarese envoy in Naples, to Ercole d’Este, Duke of Ferrara. Bendidio mentioned that Costanzo had lived for a considerable time in Ferrara and married a Ferrarese woman. He also reported that when Sultan Mehmed II of Turkey had requested that a painter be sent to Istanbul to paint his portrait, King Ferdinand I of Naples had dispatched Costanzo, who stayed there several years and was knighted by the Sultan. Babinger (1967) suggested that he could have left Naples for Istanbul in spring ...


(fl 1471; d L’Aquila, 1504).

Italian sculptor and painter. He was probably the son of the goldsmith Giacomo di Paolo Sulmona, recorded as resident in L’Aquila by 1467. Silvestro is first documented in 1471, sharing a workshop with Giovanni Biascuccio, and again at the end of the decade in partnership with the Florentine Francesco Trugi. The earliest documented work by the sculptor is a tabernacle with St James (untraced) commissioned by the ecclesiastical authorities of Tornimparte on 12 February 1476. In 1476 he was also commissioned to execute, in L’Aquila Cathedral, a funerary monument (damaged 1703) to Amico Agnifili, Bishop of L’Aquila (reg 1431–76). A contract for materials dated 15 September 1476 allows a partial reconstruction of the original form of the marble monument. The surviving sepulchre with an effigy of Agnifili was flanked by niche figures (untraced) of St George and St Maximian. The lunette sculpture specified in the document can perhaps be identified with a relief of the ...


Flemish School, 17th century, male.

Born 1635, in Antwerp; died c. 1699, in England.

Painter, goldsmith.

William Deryke had a daughter, Catharina, who was a painter.


Francesco Paolo Fiore and Pietro C. Marani

(Pollaiolo) [Francesco di Giorgio]

(b Siena, bapt Sept 23, 1439; d Siena, bur Nov 29, 1501).

Italian architect, engineer, painter, illuminator, sculptor, medallist, theorist and writer. He was the most outstanding artistic personality from Siena in the second half of the 15th century. His activities as a diplomat led to his employment at the courts of Naples, Milan and Urbino, as well as in Siena, and while most of his paintings and miniatures date from before 1475, by the 1480s and 1490s he was among the leading architects in Italy. He was particularly renowned for his work as a military architect, notably for his involvement in the development of the Bastion, which formed the basis of post-medieval fortifications (see Military architecture & fortification, §III, 2(ii) and 4(ii)). His subsequent palace and church architecture was influential in spreading the Urbino style, which he renewed with reference to the architecture of Leon Battista Alberti but giving emphasis to the purism of smooth surfaces. His theoretical works, which include the first important Western writings on military engineering, were not published until modern times but were keenly studied in manuscript, by Leonardo da Vinci among others; they foreshadowed a number of developments that came to fruition in the 16th century (...


Dutch, 17th century, male.

Died 1640, in London.

Painter, sculptor, medallist. Portraits.

Abraham van der Doort began his career in the service of Emperor Rudolph II in Prague. He then went to England where, on 21 April 1625, he was employed by King Charles I as Guardian of the Royal Collections and Master of the Royal Mint. On the recommendation of the King, he married Louyse Cole in ...


O. Lohr

(b Basle, bapt June 24, 1560; d Nuremberg, April 19, 1633).

Swiss pewterer, Formschneider and painter, active in Germany. He was probably apprenticed to the pewterer Hans Friderich in Basle in 1574. By 1583 Enderlein was registered as a journeyman in Nuremberg, which was an important centre for the production of pewter in the 16th century (see Nuremberg, §III, 2). In 1585 he executed his masterpiece, and a year later he was listed as a master and a citizen of the imperial city of Nuremberg. He created models of pewter pots, candlesticks and sconces and may also have produced Amtsformen (official patterns or moulds) that masters could lend to each other; according to his own account he was a Formschneider (maker of patterns or moulds) and a painter. Enderlein enriched the repertory of form in pewterware by using elements from French Renaissance ornament. He introduced many technical innovations into his craft, and he is credited with producing the first pewter chandelier (untraced) in the Nuremberg area, although no pewter pieces bearing his stamp have been discovered, and thus it is mainly in the field of pattern-cutting that his abilities can be judged. He probably did not employ many journeymen in his workshop, but his idiosyncratic style of ornament appears on pewter tankards, bowls and plates made from the early 17th century until the late Baroque period. Enderlein was more concerned with producing ...


Italian, 17th century, male.

Active in Faenza.

Died 1709.

Engraver, goldsmith, painter. Architectural views.

The son of Giovanni Fantaguzzi, Savino Fantaguzzi II painted decorations for churches and palazzi in several towns in Italy, including Faenza and Florence. He subsequently had figures added to his work by painters such as the French artist C. de Bock and G. Neri of Bologna. He collaborated with de Bock on a ceiling fresco entitled ...


French, 17th century, male.

Born 11 March 1643, in Aix-en-Provence; died 25 March 1672, in Aix-en-Provence.

Painter, engraver.

Provencal School.

Laurent Fauchier, the son of a goldsmith, excelled in portraiture. This is all the more surprising because he was self-taught. He studied and copied the portraits of Finsonius, as well as drawing after antiquity and the prints of Raphael and the Carracci School. The Cardinal, Duke of Vendôme and Governor of Provence, brought him to Paris and introduced him to Mignard, who put him under his protection and had him work on many of his paintings. Fauchier completely understood the exaggerations and faults of his teachers, in particular the mannerism of Mignard. Pierre Puget had him give lessons to his son François. In spite of the offers made to him, Fauchier refused to appear at court. He died at the age of 29, the victim of overwork, whilst painting Madame de Forbin, known under the name of the ...


Enrica Banti

[Giovan Domenico; Giandomenico]

(b Florence, June 15, 1692; d Aug 18, 1768).

Italian painter. He was the son of the goldsmith Antonio di Giovanni da Imola and Margherita di Domenico Gori. His mother’s family, which included her brother, the antiquarian Antonio Francesco Gori, was extremely influential in Florence and proved very important for Ferretti. In the first years of his life he lived in Imola, where he was sent to study (1708) with the local painter Francesco Chiusuri. After the family moved to Florence, Ferretti was taught there by Tommaso Redi and Sebastiano Galeotti. Later he spent five years in Bologna, an important centre for the practice and teaching of academic painting, where, in the workshop of Felice Torelli, his work acquired its characteristic style.

On returning to Florence in 1715, Ferretti frescoed the ceiling of S Chiara, the scenes of which are practically illegible. Two years later he became a member of the Accademia del Disegno. Between 1718 and ...


M. Newcome

[il Sarzana]

(b Sarzana, Aug 12, 1589; d Genoa, Oct 19, 1669).

Italian painter. He was the son of Giovanni Fiasella, a silversmith. At the age of 11 he studied briefly with Aurelio Lomi (1556–1622), who was in Genoa from 1597 to 1604, and then with Giovanni Battista Paggi. Around 1607 he left for Rome, where he copied paintings by Raphael and frequented the Accademia del Nudo. His painting of a Nativity (untraced) was admired by Guido Reni when it was on view for a celebration in S Maria della Scala, Rome (Soprani). Consequently Domenico Passignano and Giuseppe Cesari Arpino (1568–1640) asked him to work with them, and the Marchese Vincenzo Giustiniani commissioned paintings from him.

After about ten years in Rome, Fiasella returned to Sarzana, perhaps in 1616 when he painted an altarpiece, Virgin and Child with St Lazzaro (Sarzana, S Lazzaro). The heavy figures, precise modelling and strong lighting in this, his earliest dated painting, show that he had both learnt the classical language of Roman art and absorbed the naturalism and ...


Swiss, 17th century, male.

Born 5 October 1659, in Geneva; died 1 August 1703, in Geneva.

Painter (enamel), goldsmith.