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Pieter de Grebber
(c. 1600, Haarlem - 1652/3, Haarlem) was a Dutch Golden Age painter. De Grebber was the oldest son of Frans Pietersz de Grebber (1573 - 1643), a painter and embroiderer in Haarlem, and the brother of the painters Maria and Albert. He learned to paint from his father and from Hendrick Goltzius. He was descended from a Catholic and artistic family and his sister Maria later became the mother-in-law of Gabriel Metsu. He was a friend of the priest and musicologist Jan Albertszoon Ban, and had a poem set to music by the Haarlem composer Cornelis Padbrue. In 1632 he became a member of the Haarlem Guild of St. Luke, but he had already been active as a painter for 10 years. His pupils were Gerbrand Ban, Nicolaes Pietersz Berchem, Egbert van Heemskerck, and Dirck Helmbreeker. In 1618, father and son went to Antwerp and negotiated with Peter Paul Rubens over the sale of his painting "Daniel in the lions pit". It was then handed - via the English ambassador in the Republic, Sir Dudley Carleton - to king Charles I. Pieter got important commissions not only in Haarlem, but also from the stadholder Frederik Hendrik. As such, he worked on the decoration of the Huis Honselaarsdijk in Naaldwijk and at the Paleis Noordeinde in Huis ten Bosch in the Hague. He painted altar pieces for churches in Flanders and hidden Catholic churches in the Republic. He may also have worked for Danish clients. Pieter remained single and lived from 1634 until his death at the Haarlem Beguinage.
Tito Lessi
Italian artist, 1858-1917
Pedro Blanes
1878-1926 Uruguayan painter. He first studied painting and drawing as a child with the Catalan painter Miguel Jaume i Bosch. As an adolescent he moved with his family to Spain, where he studied at the Real Academia de Bellas Artes de San Fernando in Madrid and frequented the workshop of Santiago Rusieol. After studying in Paris with Benjamin Constant, he visited Italy and Mallorca, where he first developed his talents as a landscape painter before returning briefly to Uruguay in 1899. During another prolonged visit to Europe from 1902 to 1907 he enthusiastically studied the work of Pierre Puvis de Chavannes, Lucien Simon, Henri Martin, Claude Monet and James Abbott McNeill Whistler. After his return to Montevideo in 1907 he painted shimmering Impressionist-influenced landscapes such as Palma de Mallorca and treated local rural and urban scenes in which he established himself as a remarkable colourist. He also commemorated subjects from Latin American history in works such as Artigas Dictating to his Secretary Don Jose G. Monterroso , the equestrian portrait of General Galarza and Artigas in el Hervidero.