Museo Poldi Pezzoli

Antonio Vivarini was an Italian painter of the early Renaissance-late Gothic period, who worked mostly in the Republic of Venice. He is probably the earliest of a family of painters, which was descended from a family of glassworkers active in Murano. The painting dynasty included his younger brother Bartolomeo and Antonio's son Alvise Vivarini.

Lorenzo Bartolini was an Italian sculptor who infused his neoclassicism with a strain of sentimental piety and naturalistic detail, while he drew inspiration from the sculpture of the Florentine Renaissance rather than the overpowering influence of Antonio Canova that circumscribed his Florentine contemporaries.

Fra Bartolomeo or Bartolommeo, also known as Bartolommeo di Pagholo, Bartolommeo di San Marco, Paolo di Jacopo del Fattorino, and his original nickname Baccio della Porta, was an Italian Renaissance painter of religious subjects. He spent all his career in Florence until his mid-forties, when he travelled to work in various cities, as far south as Rome. He trained with Cosimo Rosselli and in the 1490s fell under the influence of Savonarola, which led him to become a Dominican friar in 1500, renouncing painting for several years. Typically his paintings are of static groups of figures in subjects such as the Virgin and Child with Saints.

Jacopo Bellini was one of the founders of the Renaissance style of painting in Venice and northern Italy. His sons Gentile and Giovanni Bellini, and his son-in-law Andrea Mantegna, were also famous painters.

Giuseppe Bertini (1825–1898) was an Italian painter, active in his native Milan.

Francesco Bonsignori, also known as Francesco Monsignori, was an Italian painter and draughtsman, characterized by his excellence in religious subjects, portraits, architectural perspective and animals. He was born in Verona and died in Caldiero, a city near Verona. Bonsignori's style in early period was under the influence of his teacher Liberale da Verona. After becoming the portraitist and court artist to the Gonzaga family of Mantua in 1487, his style was influenced by Andrea Mantegna, who also worked for Francesco Gonzaga from the 1480s. They collaborated to execute several religious paintings, mainly with the theme of Madonna and Child. The attribution of the portrait of a Venetian Senator was debatable until the last century because of the similarity in techniques used by Bonsignori and his teacher Mantegna. During the phase of his career in Mantua, there is an undocumented period between 1495 and July 1506 with no official record regarding his activities by the court of Mantua. Bonsignori's late style was decisively influenced by Lorenzo Costa in terms of form and color. He produced his last monumental altarpiece the Adoration of the Blessed Osanna Andreasi in 1519 shortly before his death.

Giulio Campi was an Italian painter and architect. His brothers Vincenzo Campi and Antonio Campi were also renowned painters.

Francesco Capella (1714–1784), called Il Capella and Francesco Dagiu, was a scholar of Giovanni Battista Piazzetta. He was born in Venice, Italy. He painted history, and was chiefly employed for the churches at Bergamo, and by the state. One of his best pictures is 'St. George and the Dragon,' in the church of San Bonate.

Cristoforo Caselli, also known as da Parma or il Temperello or Cristofaro Castelli, was an Italian painter of the Renaissance period.

Jacopo del Casentino was an Italian painter, active mainly in Tuscany in the first half of the 14th century.

Bernardo Cavallino (1616–1656) was an Italian painter and draughtsman. He is regarded as one of the most original painters active in Naples during the first half of the 17th century.

Jan Brueghel the Younger was a Flemish Baroque painter. He was the son of Jan Brueghel the Elder, and grandson of Pieter Bruegel the Elder, both prominent painters who contributed respectively to the development of Renaissance and Baroque painting in the Habsburg Netherlands. Taking over his father's workshop at an early age, he largely painted the same subjects as his father in a style which was similar to that of his father. He gradually was able to break away from his father's style by developing a broader, more painterly, and less structured manner of painting.He regularly collaborated with leading Flemish painters of his time.

Lucas Cranach the Elder was a German Renaissance painter and printmaker in woodcut and engraving. He was court painter to the Electors of Saxony for most of his career, and is known for his portraits, both of German princes and those of the leaders of the Protestant Reformation, whose cause he embraced with enthusiasm. He was a close friend of Martin Luther. Cranach also painted religious subjects, first in the Catholic tradition, and later trying to find new ways of conveying Lutheran religious concerns in art. He continued throughout his career to paint nude subjects drawn from mythology and religion.

Hendrick Goltzius, or Hendrik, was a German-born Dutch printmaker, draftsman, and painter. He was the leading Dutch engraver of the early Baroque period, or Northern Mannerism, lauded for his sophisticated technique, technical mastership and "exuberance" of his compositions. According to A. Hyatt Mayor, Goltzius "was the last professional engraver who drew with the authority of a good painter and the last who invented many pictures for others to copy". In the middle of his life he also began to produce paintings.

James Baker Pyne was an English landscape painter who became a successful follower of Turner, after having been in his earlier years a member of the Bristol School of artists and a follower of Francis Danby.

Thomas Shotter Boys (1803–1874) was an English watercolour painter and lithographer.

David Teniers the Younger or David Teniers II was a Flemish Baroque painter, printmaker, draughtsman, miniaturist painter, staffage painter, copyist and art curator. He was an extremely versatile artist known for his prolific output. He was an innovator in a wide range of genres such as history painting, genre painting, landscape painting, portrait and still life. He is now best remembered as the leading Flemish genre painter of his day. Teniers is particularly known for developing the peasant genre, the tavern scene, pictures of collections and scenes with alchemists and physicians.

Jacob Toorenvliet (1640–1719) was a Dutch Golden Age painter of genre works.

Jacob Ferdinand Voet or Jakob Ferdinand Voet was a Flemish portrait painter. He had an international career that brought him to Italy and France, where he made portraits for an elite clientele. Voet is regarded as one of the best and most fashionable portrait painters of the High Baroque.

Mair von Landshut was a German engraver, painter, and designer of woodcuts, who worked in Bavaria. He probably came from Freising near Munich, and worked in both towns, as well as Landshut.

Cornelis de Wael was a Flemish painter, engraver and merchant who was primarily active in Genoa in Italy. He is known for his genre paintings, battle scenes, history paintings and still lifes. Through his art work, support for Flemish painters working in Italy and role as an art dealer, he played an important role in the artistic exchange between Italy and Flanders in the first half of the 17th century. His work also had an influence on local painters such as Alessandro Magnasco, particularly through his scenes of despair and irony.