(Valladolid, 1553 - 26 October 1608, Madrid) Spanish painter, one of the best representatives of the Spanish school of court painters. He worked for Philip II and Philip III. The Museo del Prado contains examples of his severe portraiture style. Juan Pantoja de La Cruz was, born 1553 in Valladolid. Very little is known of his formative years as a painter. He was a pupil of the court painter Alonso Senchez Coello in Madrid and he must have assisted his master in complying with his duties as painter of the Spanish King, Philip II. Pantoja probably continued to work in his master studio after completing his training. He married in 1585 beginning to paint for the court around that time. After Sanchez Coello's death in 1588, Pantoja took over his master workshop and became court painter to Philip II of Spain. Pantoja kept working for the court and the nobility, painting portraits of Prince Philip, the future Philip III, in 1592 and 1594. Among his most well known works is the portrait of Philip II wearing a cape and hat all in black, painted around 1594 for the Escorial. This portrait is one of the best representations of the idea of Spanish majesty, based on the remoteness of the monarch. On Philip II's death in 1598, Philip III confirmed Pantoja's status as court painter. When the court settled in Valladolid in 1601, Pantoja moved to the new capital, remaining in this city, several years.  Related Paintings of Juan Pantoja de la Cruz :. | Portrait of a woman | third wife of Philip II | Queen of Spain | Portrait of Anna of Austria | Infantin Anna (1601-1666), Konigin von Frankreich, Bildnis in ganzer Figur mit einem Lowenaffchen |
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David Allan
13 February 1744 C 6 August 1796) was a Scottish painter, best known for historical subjects. He was born at Alloa in central Scotland. On leaving Foulis's academy of painting at Glasgow (1762), after seven years' successful study, he obtained the patronage of Lord Cathcart and of Erskine of Mar, on whose estate he had been born. Erskine made it possible for him to travel to Rome (1764), where he remained for several years engaged principally in copying the old masters. Among the original works which he then painted was the "Origin of Portraiture", now in the National Gallery at Edinburgh--representing a Corinthian maid drawing her lover's shadow--well known through Domenico Cunego's excellent engraving. This won him the gold medal given by the Academy of St Luke in the year 1773 for the best specimen of historical composition.
Bartolomeo Passerotti
(1529-1592) was an Italian painter of the mannerist period, who worked mainly in his native Bologna. He traveled to Rome in the mid-16th century, where he worked under Girolamo Vignola and Taddeo Zuccari. Upon returning to Bologna, he accumulated a large studio, and influenced many Bolognese who would later play a role in the rise of the Baroque. Annibale Carracci (whose brother Agostino studied with Passarotti) was influenced by Passarotti's genre scenes in a select set of paintings (such as The Beaneater and The Butcher's Shop, the latter being originally attributed to Passarotti). Lucio Massari and Francesco Brizzi were among his pupils. Four of Passarotti's sons, including Ventura, Aurelio, Tiburzio, and Passarotto were painters.
Bernardino Fungai
Italian 1460-1516 Italian painter. He is recorded in 1482 as Benvenuto di Giovanni garzone at work on the monochrome frescoes decorating the drum of the cupola of Siena Cathedral. Most scholars have accepted Benvenuto as Fungai teacher but stress the greater influence of Matteo di Giovanni; other proposals have included Giovanni di Paolo and, following the reattribution of paintings traditionally ascribed to Giacomo Pacchiarotti, Pietro Orioli. Fungai depended heavily on the preceding generation of Sienese painters and was considerably influenced by the contemporary activity of Pietro Perugino, Luca Signorelli and Bernardino Pinturicchio in and around Siena. His works are characterized by the docility of the figures, a keen decorative sensibility in the use of colour and the treatment of drapery and landscape, and a pleasantly engaging narrative skill. Although identification of works from his early career is problematic, a sizeable oeuvre has been ascribed on the basis of a signed and dated altarpiece executed for S Niccole al Carmine depicting the Virgin and Child Enthroned with SS Sebastian, Jerome, Nicholas and Anthony of Padua (1512; Siena, Pin. N.).