Paolo Albertoni was an Italian painter of the late-Baroque period. He was born in Rome and trained in the studio of Carlo Maratti. He joined the Accademia di San Luca in Rome in 1695, and died soon after. [1] There are pictures by him in the church of San Carlo al Corso, in Santa Maria in the Campo Marzo, Santa Marta al Collegio Romano, and other churches in Rome. He frescoed for the chapel in the Palazzo Chigi in Formello .
Pietro da Cortona was an Italian Baroque painter and architect. Along with his contemporaries and rivals Gian Lorenzo Bernini and Francesco Borromini, he was one of the key figures in the emergence of Roman Baroque architecture. He was also an important designer of interior decorations.
Carlo Saraceni was an Italian early-Baroque painter, whose reputation as a "first-class painter of the second rank" was improved with the publication of a modern monograph in 1968.
Girolamo Rainaldi was an Italian architect who worked mainly in a conservative Mannerist style, often with collaborating architects. He was a successful competitor of Bernini. His son, Carlo Rainaldi, became an even more notable, more fully Baroque architect.
Giovanni Lanfranco was an Italian painter of the Baroque period.
There are more than 900 churches in Rome. Most, but not all, of these are Catholic.
Carlo Maratta or Maratti was an Italian painter, active mostly in Rome, and known principally for his classicizing paintings executed in a Late Baroque Classical manner. Although he is part of the classical tradition stemming from Raphael, he was not exempt from the influence of Baroque painting and particularly in his use of colour. His contemporary and friend, Giovanni Bellori, wrote an early biography on Maratta.
Stefano Pozzi was an Italian painter, designer, draughtsman and decorator whose career was spent largely in Rome.
Antonio Balestra was an Italian painter of the Rococo period.
Marco Benefial was an Italian, proto-Neoclassical painter, mainly active in Rome. Benefial is best known for his repudiation of 18th century decorative Rococo styles pre-eminent in the Rome dominated by Carlo Maratta pupils. His paintings portrayed tangible human figures, with complex treatment of space, and luminous, warm colors. Along with the altarpieces and frescoes, he also painted many portraits. Because he partnered with some inferior artists who subsequently received credit, some of his paintings have been frequently misidentified.
Agostino Masucci was an Italian painter of the late-Baroque or Rococo period.
Giuseppe Bartolomeo Chiari, also known simply as Giuseppe Chiari, was an Italian painter of the late-Baroque period, active mostly in Rome.
Giacinto Brandi was an Italian painter from the Baroque era, active mainly in Rome and Naples.
Antonio Gherardi was an Italian painter, architect, and sculptor (stuccoist) of the Baroque style, active mainly in and near Rome and his native city of Rieti.
Alessandro Turchi was an Italian painter of the early Baroque, born and active mainly in Verona, and moving late in life to Rome. He also went by the name Alessandro Veronese or the nickname L'Orbetto. His style has been described as soft and Caravaggesque at the same time.
Luigi Garzi was an Italian painter of the Baroque period, whose work displayed heavy influences of the Bolognese painter, Guido Reni.
Carlo Giuseppe Ratti (1737–1795) was an Italian art biographer and painter of the late-Baroque period. He was a pupil of the painter Giovanni Agostino Ratti. Born in Savona, he moved to Rome where he befriended Anton Raphael Mengs and Pompeo Batoni. He died in Genoa, where he labored for many years.
Giovanni Battista Benaschi, or Beinaschi, (1636–1688) was an Italian painter and engraver active in the Mannerist and Baroque style.
Carlo Antonio Rambaldi (1680-1717) was an Italian painter of the Baroque period, active in his native Bologna.
Antonio Viviani (1560–1620) was an Italian painter of the late Renaissance and early Baroque.
Francesco Mancini was an Italian painter whose works are known between 1719 and 1756. He was the pupil of Carlo Cignani.
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