1581-1644 Italian Bernardo Strozzi Galleries Strozzi was born in Genoa. He was probably not related to the other Strozzi family. In 1598, at the age of 17, he joined a Capuchin monastery, a reform branch of the Franciscan order. When his father died c1608, he left the order to care for his mother, earning their living with his paintings, which were often influenced by Franciscan teachings, for example his Adoration of the Shepherds (c. 1615) . In 1625, he was charged with illegally practicing as a painter. When his mother died c1630, Bernardo was pressured in court by the Capuchin's to re-enter the order. He was briefly imprisoned in Genoa , and upon release fled to Venice to avoid confinement in a monastery in 1631. He became nicknamed all his life as il prete Genovese (the Genoa priest). Saint Christopher, by Strozzi.Early paintings, such as The Ecstasy of St Francis show the dark emotionalism of Caravaggio. But by the second decade of the 17th century, while working in Venice, Strozzi had synthesized a personal style which fused painterly influences of the North (including Rubens and Veronese) with a monumental realistic starkness. For example, in the painting The Incredulity of Thomas, the background is muted, yet Jesus' face, haloed and his outline, misty, in a style atypical of Caravaggio. Never as dark as the Caravaggisti, Venice infused his painting with a gentler edge, a style more acceptable to the local patronage, and one derived from his precursors in Venice, Jan Lys (died 1629) and Domenico Fetti (died 1626), who had also fused the influence of Caravaggio into Venetian art. Examples of this style can be found in his Parable of the Wedding Guests (1630),Christ giving keys of Heaven to Saint Peter (1630),, Saint Lawrence distributing Alms at San Nicol?? da Tolentino[7] and a Personification of Fame (1635-6). He was also likely influenced by Velazquez (who visited Genoa in 1629-30). After a commission to paint Claudio Monteverdi his fame grew, and his portrait paintings included many of the leading Venetians. His pupils and painter strongly influenced by him included Giovanni Andrea de Ferrari (1598-1669), Giovanni Bernardo Carbone, Valerio Castello and, Giovanni Benedetto Castiglione.  Related Paintings of Bernardo Strozzi :. | The Portrait of the Wedding Guest | Portrait of Cardinal Federico Cornaro | The Healing of Tobit | Allegory of the Arts | Portrait of a Knight |
Related Artists:
Alexei Korzukhin
(1835-1894) was Russian painter. A Korzukhin 000.JPG Korzukhin was born in Yekaterinburg on March 23, 1835. In 1858 he began his studies in the St. Petersburg in the Imperial Academy of Arts. In 1860, Korzukhin won his first award for the painting his The Drunken Father. In 1864, he help found Petersburg Artel of Artists - the "Revolt of Fourteen". Korzukhin has received a rank of the artist of the First Degree for his painting Commemoration on a Rural Cemetery (1865). For The Return of the Father from Fair, he received a rank of the academician. In 1870, he became a founding member of the art group 'The Wanderers. In 1891 he painted The Lord's Supper for a cathedral in Riga. Korzukhin is perhaps most famous for his many portraits, each of which is characterized to have a subtle psychological depth. For this reason they are generally accepted as masterpieces of Russian portrait painting. Alexei Korzukhin died in St. Petersburg on October 30, 1894.
Jan van den Hecke
(1620-1684) was a Flemish Baroque painter. According to Houbraken he painted landscapes, which he populated with animals and other figures himself. He also made flower and fruit still lifes and could paint gold, silver, crystal, and porcelain quite well. He spent a long period travelling and working in Italy, which is noticeable in his landscapes. According to the RKD he was registered in the Antwerp Guild of Saint Luke as an apprentice in 1636 and learned to paint from Abraham Hack, who also taught his contemporary, the flower painter Hieronymus Galle. In 1641 Van den Hecke was registered as a master of the guild. From 1653-1658 he was in Italy, but somewhere in the mid-50's he went back and forth to Belgium, since he is also registered in Brussels during that period. He died the same year as his wife Maria Adriana Heijens; when they died they left three children; Jan (II), aged 24, Maria, aged 21, and Peeter, aged 20. Van den Hecke's pupil Peeter de Clerc eventually became a master painter in the guild. Van den Hecke's son Jan van den Hecke II became a popular flower painter.
Michiel Coxie
Coxie also spelled Coxcie or Coxien, Latinised name Coxius (1499 - 3 March 1592) was a Flemish painter who studied under Bernard van Orley, who probably induced him to visit the Italian peninsula. Coxie was born in 1499 in Mechelen in what was then the Duchy of Brabant. At Rome in 1532 he painted the chapel of Cardinal Enckenvoirt in the church of Santa Maria dell'Anima; and Giorgio Vasari, who knew him, says with truth that he fairly acquired the manner of an Italian. But Coxie's principal occupation was designing for engravers; and the fable of Psyche in thirty-two sheets by Agostino Veneziano and the Master of the Die are favorable specimens of his skill. Returning to the Netherlands, Coxie greatly extended his practice in this branch of art. But his productions were till lately concealed under an interlaced monogram M.C.O.K.X.I.N. In 1539, Coxie returned to Mechelen, where he matriculated and painted the wings of an altarpiece for the chapel of the guild of St Luke. The centre of this altar-piece, by Jan Mabuse, represents Saint Luke the Evangelist, patron of painters, portraying the Virgin; the side pieces contain the Martyrdom of Saint Vitus and the Vision of St John the Evangelist in Patmos. At van Orley's death in 1541 Coxie succeeded to the office of court painter to the Regent Maria of Austria, for whom he decorated the castle of Binche. He was subsequently patronized by Charles V, Holy Roman Emperor, who often coupled his works with those of Titian; by Philip II of Spain, who paid him royally for a copy of Jan van Eyck's Agnus Dei, and also commissioned two copies of Van der Weyden's Descent from the Cross from Coxie; and by Fernando Álvarez de Toledo, Duke of Alva, who once protected him from the insults of Spanish soldiery at Mechelen. At that time, Coxie also designed tapestries for the Brussels manufacturers.