Spanish Painter, ca.1531-1588 was a portrait painter of the Spanish Renaissance and one of the pioneers of the great tradition of Spanish portrait painting. Alonso Senchez Coello spent his childhood in Benifair de les Valls, until the death of his father when he was around ten years old. He was educated in Portugal at his grandfather's home. Coello's years in Portugal and his family name of Portuguese origin led to a long-standing belief that he was in fact Portuguese. His grandfather (after whom he was named) was in the service of King John III of Portugal who sent the young painter to study with Anthonis Mor (also known as Antonio Moro) in Flanders around 1550. He was under the service of Antoine de Granville, bishop of Arras, learning from Mor. While studying in Flanders, Coello also spent time copying some of Titian's works. In 1552, the painter went to Lisbon with Anthonis Mor when Charles V commissioned Mor to paint the Portuguese royal family. For a few years, Senchez Coello remained in Portugal working for the court of the heir to the throne, John, Crown Prince of Portugal. After the prince's death, Senchez Coello moved to the Spanish court of Philip II, having been recommended by the widow of John, Juana, who was the sister of the Spanish king. In 1555, S??nchez Coello was in Valladolid working for the Spanish court, and when Mor left Spain in 1561, Senchez Coello took his former master's place as Court Painter. Senchez Coello married Louisa Reyaltes in either 1560 or 1561 in Valladolid, and they had seven children. Coello's daughter, Isabel Senchez (1564-1612),   Related Paintings of SANCHEZ COELLO, Alonso :. | Diego de Covarrubias | Prince Carlos | Infantas Isabel Clara Eugenia and Catalina Micaela sa | Infanta Isabel Clara Eugenia | The Mystic Marriage of St.Catherine |
Related Artists:
Ludovic Piette
French Painter, 1826-1878.French painter. He studied at the Ecole des Beaux-Arts in Paris during the 1850s under Isidore Pils and Thomas Couture. He attended classes at the Acad?mie Suisse and made his Salon d?but in 1857 with The Scorpion Broom (ex-Mus. B.-A., Rouen). His early works were often based on literary sources and include The Phantoms (exh. Salon 1859) and The Witches Appearing to Macbeth (exh. Salon 1861). Piette only exhibited at the Salon on two further occasions (1872 and 1876), preferring instead to sell his work at auction in the H?tel Drouot. In the early 1860s he abandoned literary subjects in favour of working directly from nature, a shift that probably relates to his developing friendship with Camille Pissarro. This association is first documented by Pissarros portrait of Piette in his Studio (1861; Dr and Mrs Jordan H. Trafimow priv. col.) and an important correspondence between the two artists from 1863 to 1877 survives. Piette portrayed Pissarro painting out of doors (c. 1870; priv. col., see Pissarro, exh. cat., ACGB, 1980, no. 322).
Jean Cotelle
Jean Cotelle Jean Cotelle, 'the younger', was a painter and engraver, born in Paris in 1645. He received his early instruction from his father, Jean Cotelle, and eventually visited Italy. On his return he devoted himself to his profession, producing historical paintings, miniatures, and occasionally etchings. His chef-d'oeuvre was the 'Marriage at Cana,' painted in 1681 for the cathedral of Notre-Dame. There are by him at Versailles several views in the gardens of that palace. He etched a plate representing 'Our Lord on the Mount of Olives,' and a series of seven scenes from the history of Venus. He was admitted into the Academy in 1672, and died at Villers-sur-Marne in 1708.
Geertgen Tot Sint Jans
Netherlandish Northern Renaissance Painter, ca.1460-1490 Geertgen tot Sint Jans is also known as Geertgen van Haarlem, Gerrit van Haarlem, or Gerrit Gerritsz.[citation needed] Alternative spellings of his first name are Gheertgen, Geerrit, and Gheerrit, where G(h)eertgen is the diminutive form of G(h)eerrit. Presumably, he was born in Leiden, then in the Burgundian Netherlands in the Holy Roman Empire, around the year 1465. The assignment of Leiden as his birth place is traceable to a 17th century print by Jacob van Matham. There is no known archival evidence for this claim by Jacob van Matham. The modern acceptance of Leiden as Geertgen's birth place is roughly traceable to Johann Kessler's dissertation of 1930. Probably, Geertgen was a pupil of Albert van Ouwater, who was one of the first oil painters in the northern Low Countries. Both painters lived in the city of Haarlem. Geertgen was attached to the monastery of the Knights of Saint John, for whom he painted an altarpiece. Although Geertgen was not a member of the Order of Saint John, his last name "tot Sint Jans" was derived from the order's name and means "unto Saint John". Geertgen died in Haarlem, then the Habsburg Netherlands in the Holy Roman Empire, around the year 1495, when he was approximately 28 years old. He was buried in the monastery of the Knights of Saint John. Modern scholars have attempted to calculate the artist's death date with the information from The Painting-Book (Middle Dutch: Het Schilder-Boeck) by Karel van Mander, published in 1604. There are some archival traces that suggest he may in fact have lived into the 16th century.