Pietro Facchetti (1539 ?C 27 February 1613) was an Italian painter of the late-Renaissance, mainly active in Rome. Born to a poor family in Mantua. Facchetti initially trained with Lorenzo Costa the younger, but then moved to Rome and joined the studio of Scipione da Gaeta, where he gained fame as a portrait painter.   Related Paintings of Pietro Facchetti :. | snobollen | Selbstportrat des Kunstlers | Winter scenery | View of The thames | Detail of The woman and children are in the park |
Related Artists:
Ramon Bayeu
1746-1793 Spanish Ramon Bayeu Gallery The biography of Jose del Castillo (Madrid, 14.10.1737-Madrid, 5.10.1793) shows that the artist, being in his youth one of the most appropriate painters for becoming a leader of the artistic movement of the Illustrious Absolutism, ends up performing secondary work, paintings for tapestry and some religious works of art, which was not the field where he could best display his talent. Jose del Castillo is a perfect example of how an unhappy destiny can influence on the professional life of a painter under the regime of that time. Surely the unhappy destiny, in point of fact, does not explain anything and we will have to find out the real reasons why one of the most promising careers in painting of the eighteenth century in Spain was crushed. Probably it was a combination of two unsuccessful elections, from our point of view, that excluded the figure of Jose del Castillo from the elite group of artists of that time.
Pieter de Kempener
Pedro Campana (1503-1586) was a Flemish painter of the Renaissance period, mainly active in Italy and Spain. His actual name was Pieter de Kempeneer, translated into French as Champaigne, and was also known as Peter Van de Velde. Born in Brussels, he trained there with Bernard Van Orley. His early life appears to have been spent in Italy, where he carefully studied the paintings of Raphael, and declared himself as his pupil. In 1530 he was at work at some scene-painting, representing a triumphal arch to be erected on the occasion of the coronation of Charles V, Holy Roman Emperor in Bologna, and he then left for Spain, on the advice, it is said, of Cardinal Domenico Grimani, and spent the rest of his life in that country, only returning to Brussels about 1563 or 1565. Between 1537 and 1562 he was associated with Luis de Vargas and the Italian sculptor Torregiano in establishing a school of painting in Seville, which eventually became the academy of the place; amongst the pupils educated in it was Morales. He painted for the monastery of St. Mary of Grace, Church of Santa Cruz, in the city, an altar-piece representing the Descent from the Cross (1548), which is now in the cathedral, having been removed there when the church fell into ruins. There are other works by the same painter in Seville Cathedral, especially two representing the Purification of the Virgin and the Resurrection; and the various churches of the city, S. Isidoro, S. Pedro, S. Catalina, and S. Juan, all possess paintings by this artist. One of his last works was the restoration and repainting of a chapel belonging to Hernando de Jaen, an important resident of Seville. Murillo requested that he be buried near Campana's picture, and his burial took place in the Church of Santa Cruz, close underneath the Descent from the Cross, but the whole building was burned to the ground during the Napoleonic Wars, and the tomb perished.
Pieter Saenredam
b. 1597, Assendelft, d. 1665, Haarlem,Painter and draughtsman, son of Jan Saenredam. His paintings of churches and the old town halls in Haarlem, Utrecht and Amsterdam must have been appreciated by contemporary viewers principally as faithful representations of familiar and meaningful monuments. Yet they also reveal his exceptional sensitivity to aesthetic values; his paintings embody the most discriminating considerations of composition, colouring and craftsmanship. His oeuvre is comparatively small, the paintings numbering no more than 60, and each is obviously the product of careful calculation and many weeks of work. Their most striking features, unusual in the genre, are their light, closely valued tonalities and their restrained, restful and delicately balanced compositions. These pictures, always executed on smooth panels, are remarkable for their sense of harmony and, in some instances, serenity. Here, perhaps, lies a trace of filial fidelity to the Mannerist tradition of refinement and elegance, of lines never lacking in precision and grace. But Mannerist figures and the more comparable components of strap- and scrollwork embellishment lack the tension and clarity of Saenredam's designs, which also have a completeness reminiscent of the fugues of Gerrit Sweelinck (1566-?1628).