Spanish, 1614-1685 was a Spanish painter of the Baroque period. Born in Avil's in Asturias, son of a painter with the same name, Juan Carreño de Miranda. His family moved to Madrid in 1623, and he trained in Madrid during the late 1620s as an apprentice to Pedro de Las Cuevas and Bartolom Roman. He came to the notice of Velezquez for his work in the cloister of Doña Maria de Aragen and in the church of El Rosario. In 1658 Carreño was hired as an assistant on a royal commission to paint frescoes in the Alcezar palace, now the Royal Palace of Madrid. In 1671, upon the death of Sebastian de Herrera, he was appointed court painter to the queen (pintor de cemara) and began to paint primarily portraits. He refused to be knighted in the order of Santiago, saying Painting needs no honors, it can give them to the whole world. He is mainly recalled as a painter of portraits. His main pupils were Mateo Cerezo, Cabezalero, Donoso, Ledesma y Sotomayor. He died in Madrid. Noble by descent, he had an understanding of the workings and psychology of the royal court as no painter before him making, his portraits of the Spanish royal family in an unprecedented documentary fashion  Related Paintings of Miranda, Juan Carreno de :. | Portrait of Charles II | Peter Ivanovich Potemkin | La reina Mariana de Austria de luto | King Charles II of Spain | portrait of emperor pedro ll |
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Isidoro Bianchi
Isidoro Bianchi called da Campione (20 July 1581, Campione d'Italia, Lombardy - 5 December 1662) was an Italian painter of the Baroque period. He was born in Campione d'Italia, Lombardy and was active c. 1626. He studied under Pietro Francesco Mazzuchelli. He excelled in fresco painting for the Basilica of Sant'Ambrogio at Milan and in different churches at Como. The Duke of Savoy chose him to finish a grand saloon at Rivoli, which had been left unfinished at the death of Mazzuchelli, who had commenced it. Bianchi was afterwards made painter to the Court, and was knighted in 1631.
Isaac Fuller
c.1606--72 English painter. He was renowned in his day for large historical, mythological and biblical subjects but was also a very able portrait painter. According to Vertue, he studied under Fran?ois Perrier in France c. 1630, and in 1644 he is documented as working in Oxford, at the same time as William Dobson. There he painted altarpieces, including a Resurrection for All Souls College (a wild imitation of Michelangelo, which John Evelyn considered 'too full of nakeds for a chapel'), a Last Judgement for Magdalen College and a Last Supper for Wadham College. None of these works is known to survive. He also copied Dobson's Beheading of John the Baptist, substituting the heads with portraits of his friends. On moving to London, Fuller worked on decorative schemes for churches, taverns and private houses and continued to paint portraits. In 1654 he published a drawing book, Un libro di disegnare, with 15 etched plates, but there are no known copies. Much of his decorative work was destroyed in the Great Fire in 1666, including that in the Painters' Hall and St Mary Abchurch. Vertue admired his erotic life-size Bacchic figures in the Mitre Tavern in Fenchurch Street. Five crudely painted canvases commemorating the Adventures of Charles II after the Battle of Worcester in 1651 (London, N.P.G.) are his only surviving decorative works. Fuller's reputation as a painter rests mainly on three variants of a Rembrandtesque Self-portrait (1670; Oxford, Bodleian Lib.; Oxford, Queen's Coll
Giorgio Vasari
1511-74 Italian painter, architect, and writer. Though he was a prolific painter in the Mannerist style, he is more highly regarded as an architect (he designed the Uffizi Palace, now the Uffizi Gallery), but even his architecture is overshadowed by his writings. His Lives of the Most Eminent Architects, Painters, and Sculptors (1550) offers biographies of early to late Renaissance artists. His style is eminently readable and his material is well researched, though when facts were scarce he did not hesitate to fill in the gaps. In his view, Giotto had revived the art of true representation after its decline in the early Middle Ages, and succeeding artists had brought that art progressively closer to the perfection achieved by Michelangelo.