nine. At sixteen, he painted a portrait of Fra Ainolfo de'
Bardi (1632; Florence, Pitti), in which his characteristi-
cally sharp attention to detail and strong chiaroscuro are
already evident. Although greatly esteemed as a portrait
painter, Dolci's religious ardor inspired him to devote his
talents to sacred imagery. His oeuvre consists largely of
pious, sometimes sentimental half-figures of saints and
the Virgin presented with great intimacy. These pictures,
which are painted in a tight, highly finished style similar
to miniature painting, include the Madonna of the Lilies
(1642; Montpellier, Musee Fab re) and the Saint Rose and
Saint John (both 1671; Florence, Pitti). Except for a brief
visit to Innsbruck in 1672 to paint a portrait of Claudia
Felicita, niece of Cosimo II de' Medici (Florence, Pitti),
Dolci worked solely in Florence.
LAMBERT DOOMER
Amsterdam 1624-1700
The son of a frame-maker, Doomer worked initially in
Amsterdam and may have trained with Rembrandt
around 1644. In 1645/46 he visited his two brothers at
Nantes, and returned via the Loire valley and Paris, ac-
companied by the artist Willem Schellinks. Doomer
made many topographical drawings during his travels,
particularly of Nantes and its environs. After his return
to Amsterdam, he produced drawings reflecting trips to
the province of Gelderland during the 16405 and 16505,
and a journey up the Rhine in 1663 through Cleves, Co-
logne, and Bingen, and the eastern Netherlands, includ-
ing Utrecht, Rhenen, Arnhem, and Nijmegen. From
1669 to 1695 Doomer lived for long periods in Alkmaar.
During the early 16705 he made and sold copies of his
earlier drawings of France, the Netherlands, and the
Rhineland. He spent his final years in Amsterdam.
Among seventeenth-century Holland's finest and most
prolific topographical draughtsmen, Doomer also
painted religious scenes, portraits, and landscapes.ALBRECHT DURER
Nuremberg 1471-1528
Diirer was trained in Nuremberg as a goldsmith by his
father between 1485 and 1486 and as a painter by Michael
Wolgemut from 1486 to 1489. Between 1490 and 1494 he
traveled to Basel, Colmar, and Strasbourg as a journey-
man. A trip to Venice in 1494-1495 inspired his lasting
interest in Italian theories of proportion and perspective.
During the years following his return to Nuremberg,
Diirer published some of his greatest prints, including
the Apocalypse woodcuts of 1498 and the engraving
Adam and Eve of 1504. He took a second trip to Venice in
1505-1507 and while there painted the Feast of the RoseGarlands (Prague, Narodni Galeri) for the local com-
munity of German merchants. In 1511 he published the
woodcuts of the Large and Small Passion and the Life of
the Virgin. Beginning in 1512 Diirer undertook a num-
ber of projects for Emperor Maximilian I, who granted
him a yearly pension in 1515. In 1520/21 he traveled to the
Netherlands. The artist's later support of Luther is ex-
pressed in works such as the Four Apostles (1526; Munich,
Alte Pinakothek). His Vier Bucher von menschlicher Pro-
portion was published posthumously in 1528.ANTHONY VAN DYCK
Antwerp 1599— London 1641
The son of a rich merchant, van Dyck was enrolled in the
Antwerp guild of Saint Luke in 1609 as an apprentice to
the figure painter Hendrick van Balen. Already active as
an independent painter in 1615/16, van Dyck did not be-
come a master in the guild until 1618. About this time he
became Rubens' chief collaborator and also executed a
number of important independent commissions such as
Christ Carrying the Cross (Antwerp, Sint-Pauluskerk).
Van Dyck traveled to London briefly in 1620. In 1621 he
left for Italy, visiting Genoa, Rome, Florence, Venice,
and Palermo and receiving numerous portrait commis-
sions, particularly in Genoa. Returning to Antwerp in
1627, he continued to thrive as a painter of portraits and
religious and mythological scenes. During the 16205 and
'305 he also began to prepare drawings for his Iconogra-
phy, a series of engraved and etched portraits of notable
contemporaries, published in a complete edition in 1645.
In 1632 van Dyck returned to London, where he was
knighted by Charles I and appointed chief painter to the
king. After visiting the Netherlands in 1634-1635, he
settled permanently in London. Works such as Charles I
Hunting (1635; Paris, Louvre) set the standard for aris-
tocratic portraiture in England through the eighteenth
century.ALLART VAN EVERDINGEN
Alkmaar 1621-Amsterdam 1675
Everdingen was the son of a notary and the brother of
the history painter Cesar van Everdingen. His biogra-
pher, Arnold Houbraken, reported that he studied with
Roelandt Savery (presumably in Utrecht) and, after-
wards, with Pieter Molijn in Haarlem. His earliest signed
and dated painting, a seascape of 1640 (formerly Munich,
Hoech collection), shows the influence of Jan Porcellis.
Around 1643/44 Everdingen visited Norway and Swe-
den, where he produced annotated drawings of the sites
he visited. His earliest signed and dated landscape, of
1644 (formerly London, Palmer collection), exhibits338 ARTISTS' BIOGRAPHIES