Italian Baroque Era Painter, ca.1602-1660 Italian painter. He was a painter of bambocciate (low-life subjects), battles, small religious and mythological works and still-lifes. He was born of Roman parents, baptized in the parish of S Lorenzo in Lucina and spent his entire life in his native city. A member of the Accademia di S Luca since 1634, Cerquozzi attended meetings of the society as late as 1652. His friends included Domenico Viola, Pietro da Cortona and Giacinto Brandi. More significant were his associations with foreign residents in Rome. According to Baldinucci, Cerquozzi had special affection for the Spanish, owing to the patronage he received from the major-domo of the Spanish Embassy as a youth, and would often don Spanish attire as a sign of his sentiment. His Spanish connections may partly account for the many commissions he later received from patrons identified with Rome's pro-Spanish political faction (Haskell). Cerquozzi enjoyed equally good rapport with northern European residents of Rome. He is documented as having quartered with artists from beyond the Alps, including Paulus Bor and Cornelis Bloemaert, for the bulk of his career.  Related Paintings of CERQUOZZI, Michelangelo :. | Michelangelo Caravaggio 068 | Eleazar | The Linen Carder | Street Scene in Rome | The creation of Adam |
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TORRENTIUS, Johannes
Dutch painter (b. 1589, Amsterdam, d. 1644, Amsterdam). Dutch painter. He was active in Amsterdam, Leiden and Haarlem. In Haarlem in 1627 he was condemned, after severe torture, to 20 years of imprisonment for impiety, blasphemy and his membership of the outlawed Society of Rosicrucians. After having been notified by Sir Dudley Carleton, the British ambassador in The Hague, Charles I of England intervened and brought about Torrentius's release in 1629. Torrentius was subsequently active from 1629 to 1632 in London, which he nevertheless had to leave, again on account of his purportedly immoral mode of life; he returned to Amsterdam. There he was again involved in a trial and died after suffering torture in 1644. His erotic pictures, some of which depicted masterful nudes in mythological settings and are now known only through literary sources, were publicly burnt. A few still-lifes (e.g. Emblematic Still-life, 1614; Amsterdam, Rijksmus.) have survived. These carefully composed works, mostly set before a dark background, recall the work of Jan van de Velde II and the circle of Willem Claesz. Heda.
Johann Liss
Also called Jan Lys, (c. 1590 or 1597 - 1627 or 1631) was a leading German Baroque painter of the 17th century, active mainly in Venice. Liss was born in Oldenburg (Holstein) in Schleswig-Holstein, Germany. After an initial education in his home state, he continued his studies, according to Houbraken, with Hendrick Goltzius in Haarlem and Amsterdam. Around 1620 he travelled through Paris to Venice. He moved to Rome around 1620?C1622, and his first works there were influenced by the style of Caravaggio. Although his earlier work was concerned with the contrasts of light and shadow, his final move to Venice in the early 1620s modified his style and gave impetus to brilliant color and a spirited treatment of the painted surface.In 1627, he was created an admired large altarpiece, the Inspiration of Saint Jerome in San Nicole da Tolentino. His loose brushstrokes seem precursor to rococo styles of Guardi brothers.This final style, along with that of other "foreign" painters residing in Venice, Domenico Fetti and Bernardo Strozzi, represent the first inroads of Baroque style into the republic. Liss fled to Verona to escape the Plague spreading in Venice, but succumbed there prematurely in 1629. According to Houbraken, he worked day and night on his paintings, so that Joachim von Sandrart felt that his health was at risk and urged him to join him in Rome
William Powell Frith
English Painter, 1819-1909 His parents were in domestic employment before taking a hotel in Harrogate in 1826. They encouraged him to become an artist, despite his own desire to be an auctioneer. While at school in Dover, Frith sketched caricatures and copies of Dutch genre scenes (Dover Mus.) that betray his disposition to narratives. His taste did not accord with the academic training he received at Henry Sass's Academy in London (1835-7) and at the Royal Academy Schools (1837). Frith began his career as a portrait painter, using members of his family as models. He first exhibited at the British Institution in 1838, and during the 1840s he established himself with his entertaining historical and literary subjects in the popular tradition of C. R. Leslie, William Mulready and Sir David Wilkie. He was a member of THE CLIQUE, which included Richard Dadd, Augustus Egg, Henry O'Neil and John Phillip.