Italian Baroque Era Painter, 1581-ca.1644  Related Paintings of STROZZI, Bernardo :. | Allegory of Arts asta | The Charity | Tribute Money er | St Cecilia dt | The Miracle of St Diego of Alcantara er |
Related Artists:
Andrea Pozzo
Italian Baroque Era Painter, 1642-1709 Italian painter, architect and stage designer. He was a brilliant quadratura painter, whose most celebrated works, such as the decoration of the church of S Ignazio in Rome, unite painting, architecture and sculpture in effects of overwhelming illusionism and are among the high-points of Baroque church art. He was a Jesuit lay brother and produced his most significant work for the Society of Jesus. This affiliation was fundamental to his conception of art and to his heightened awareness of the artist's role as instrumental in proclaiming the faith and stimulating religious fervour. The methods he used were those of Counter-Reformation rhetoric, as represented in Ignatius Loyola's Spirited Exercises (1548).
GADDI, Agnolo
Italian Early Renaissance Painter, ca.1345-1396
Jacob Duck
1600-1667 Dutch Jacob Duck Location Dutch painter and etcher. He was long confused with Jan le Ducq (1629/30-76). In 1621 he was listed as an apprentice portrait painter in the records of the Utrecht Guild of St Luke. His teacher was probably Joost Cornelisz. Droochsloot (1586-1666). The St Job Hospital in Utrecht acquired a Musical Company by him in 1629. By 1630-32 he was a master in the guild. Like Pieter Codde, he painted guardroom scenes (kortegaerdjes), for example Soldiers Arming Themselves (c. 1635; New York, H. Shickman Gal., see 1984 exh. cat., no. 36) or the Hoard of Booty (Paris, Louvre), in which the figures and their interactions are apparently full of underlying symbolic meaning. He also painted merry companies (e.g. c. 1630; Names, Mus. B.-A.) and domestic activities, such as Woman Ironing (Utrecht, Cent. Mus.), employing motifs perhaps symbolic of domestic virtue. He placed his figures in high, bare interiors in which the deep local colours of the foreground stand out well against the cool, greyish-brown background. Only a few of his etchings are known (Hollstein, Dut. & Flem., vi, pp. 9-11), depicting figures in contemporary dress, for example Young Gentleman with Broad Hat and Cloak (Hollstein, no. 10) or Virgin and Child with Magi (nos 1-4). Between 1631 and 1649 Duck presence is documented in Utrecht, Haarlem and Wijk bij Duurstede. Afterwards, and probably by 1656, he was living in The Hague. He was buried at the monastery of St Mary Magdalene in Utrecht.