works such as Portrait of Duke Ludwig X of Bavaria (Alte
Pinakothek). In 1536 he traveled to Italy, where he died.SEBALD BEHAM
Nuremberg i5OO-Frankfurt-am-Main 1550
The elder brother of Barthel Beharn, Sebald might have
trained with Durer, whose influence is apparent in early
engravings such as Man of Sorrows of 1520 and drawings
such as Naked Man with a Club of around the same
date (Berlin, Kupferstichkabinett). The influence of the
Durer shop is also evident in his production of stained-
glass designs early in his career. Together with his brother
Barthel and Georg Pencz, Sebald was banished from Nu-
remberg in 1525 for sedition against the church. After a
subsequent expulsion in 1528 for plagiarizing from Du-
rer's unpublished work, he fled to Ingolstadt; he returned
to Nuremberg in 1529 and visited Munich in 1530. In the
following year he entered the service of Cardinal Al-
brecht of Brandenburg, archbishop of Mainz, for whom
he illuminated a prayer book (Aschaffenburg, Hofbi-
bliothek). From 1532 until his death, Sebald resided in
Frankfurt-am-Main, where his varied activities included
the production of prints and book illustrations. He is par-
ticularly appreciated for his small, finely worked engrav-
ings and for his depictions of peasants, as in the large
woodcut Large Church Festival of 1535.GIAN LORENZO BERNINI
Naples 1598-Rome 1680
Bernini, one of the most important artists of seven-
teenth-century Italy, worked as a sculptor, architect,
painter, and scénographie designer. His father, the sculp-
tor Pietro Bernini, moved the family from Naples to
Rome in 1605. Works of Gian Lorenzo's early maturity,
including Apollo and Daphne of 1621-22 and David of
1623 (both Rome, Galleria Borghese), reveal the young
artist's fascination with the realistic rendering of forms
and emotional expressions. For the basilica of Saint Peter
he undertook a series of projects which included the bal-
dacchino (1624-33) andthe design for the piazza (begun
1656). In addition he realized numerous monumental
commissions that transformed the appearance of Rome,
including the Fountain of the Four Rivers (1648-51) in the
Piazza Navona and the church of Sant'Andrea al Quiri-
nale ( 165 8 - 70). His greatest works are those in which he
created an illusionistic, theatrical ensemble including
painting, sculpture, and architecture, as can be seen in
the Cappella Cornaro (1645-52) in Santa Maria della
Vittoria.
BARTOLOMEO BISCAINO
Genoa circa 1632-1657
The short-lived Biscaino is best known for his drawings
and a few engravings. Little is known about his life. He
first studied painting with his father, Giovanni Andrea
Biscaino, before entering the workshop of the successful
Genoese painter Valerio Castello. Biscaino's early paint-
ings, such as the Triumph of David of circa 1650 (Genoa,
private collection), are strongly reminiscent of Castello's
style. Among the few securely attributed paintings by
Biscaino are Saint Ferrando Imploring the Virgin of circa
1655 (Genoa, Palazzo Bianco) and the Flagellation ofMar-
syas of 1657 (location unknown). The latter shows the in-
fluence of Giovanni Benedetto Castiglione, with whom
Biscaino probably had little personal contact but whose
Genoese works were undoubtedly known to him. There
is no evidence that Biscaino ever left Genoa. He died at
the age of twenty-five during an outbreak of the plague.JAN DE BISSCHOP
Amsterdam i628-The Hague 1671
After studying law in Leiden between 1649 and 1652, de
Bisschop set up practice in the Hague in 1652/53. There
he was part of an elite circle of intellectuals that included
Constantijn Huygens. From 1648 on de Bisschop distin-
guished himself as a draughtsman and engraver whose
level of achievement and influence far exceeded his am-
ateur status. His early landscape drawings of circa 1648-
50 such as The Hague Forest (Amsterdam, collection of
the heirs of I. Q. van Regieren Altena) imitate the style
of Bartholomeus Breenbergh in their evocation of Ital-
ianate sunlight and use of rusty brown ink wash. De
Bisschop later made many drawings after older and con-
temporary paintings and sculpture, particularly antique
statues and works by sixteenth- and seventeenth-century
Italian masters. Considerable doubt has been cast on an
Italian journey, and it is now generally believed that he
depicted material available to him in collections in the
north Netherlands. De Bisschop became a leading dis-
seminator of the classical style in Holland through his
publications Signorum veterum icones (2 vols. [1668 — 69]),
which reproduces antique and contemporary sculpture,
and Paradigmata graphices variorum artificum: Voor-Beelden
der Tekenkonst van Verscheyde Meesters (1671), a model
book for draughtsmen.ABRAHAM BLOEMAERT
Gorinchem 1564-Utrecht 1651
Bloemaert received his earliest training in Utrecht, first
under his father, Cornelis, and later under Jóos de Beer.
Between 15 80 and 1583 he lived in Paris, where he studied
with Hieronymus Francken. In 1583 Bloemaert returnedARTISTS BIOGRAPHIES 327