Paintings 15th -18th century — Graphik und Gemälde 15.-20- Jh
Vincenzo dalle Destre or Vincenzo dai Destri was an Italian painter who worked in Treviso and Venice from 1488.
In 1530 Destre was included among the members of the brotherhood of painters of Venice. He painted altars and churches with scenes from the Bible, and his skill was highly valued by his contemporaries.
Hans von Aachen was a German painter, renowned for his role as a leading representative of Northern Mannerism. His journey into the art world took him from Rome, where he studied antique sculptures and the works of Italian masters, to Florence and then Venice, securing commissions that would define his early career. Notably, his work caught the attention of the Medici family, leading to significant commissions.
By 1592, von Aachen had become the official painter for Emperor Rudolf II in Prague. This position didn't require him to stay at court, allowing him to work from his residence. His relationship with Rudolf II was pivotal, marking a period where his art flourished under the emperor's patronage, celebrated for mythological paintings and complex allegories. The emperor's appreciation for painting and the arts transformed Prague into a significant art center, fostering a style full of elegance and sensuality known as Mannerism.
Hans von Aachen's style, influenced by Italian Mannerism and northern realism, showcased his versatility through portraits, historical, religious subjects, and allegories. His significant works include the "Allegory of Peace, Art and Abundance," depicting personifications of Peace, Science and the Liberal Arts, and Abundance, celebrated for illustrating the flourishing of these ideals under Rudolf II's reign. This piece, among others, found its home in prestigious collections like the Hermitage Museum in Saint Petersburg.
His contribution to the art world was acknowledged by the European courts, merchants, and the nobility. Even after Rudolf II's death, Hans von Aachen continued his work for Matthias, focusing on imperial portraits until his death in Prague in 1615. His legacy, momentarily overshadowed by the nationalistic perspectives of the 19th century, has been reevaluated, recognizing him as a key figure in European cultural exchange and Mannerism.
For art collectors and experts interested in Mannerism and Hans von Aachen's work, his journey from an admired artist at European courts to a celebrated figure in art history underscores the lasting impact of his work. His ability to navigate the cultural and artistic demands of his time, leaving behind a body of work that continues to be studied and appreciated, makes him a fascinating subject of study.
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Frans Francken the Younger was a distinguished Flemish painter of the Baroque period, celebrated for his versatility and innovation in the art scene of the early 17th century. Born in 1581 in Antwerp, where he also died in 1642, Francken hailed from the prolific Francken family of artists, establishing himself as the most prominent among them. His contribution to Flemish art includes a wide array of subjects, spanning large altarpieces for churches to intricate cabinet pictures featuring historical, mythological, or allegorical themes.
Francken's work is particularly noted for his creation of collectors' cabinet paintings, a genre that depicted the interiors of collectors filled with art, curiosities, and natural specimens, embodying the era's intellectual pursuits and the burgeoning culture of connoisseurship. Moreover, Francken was instrumental in the development of singeries, humorous paintings featuring monkeys engaging in human activities, critiquing the follies of mankind through satire. His collaborative efforts with other artists enriched his work, allowing him to incorporate figures and narrative depth into various compositions, seamlessly blending his expertise with the landscapes, architectural settings, and still lifes created by his contemporaries.
Francken's artistic legacy is marked by his successful workshop, his role as a master in the Antwerp Saint Luke's Guild, and his significant influence on the development of new subject matter and genres within Flemish painting. His works, such as "Mankind's Eternal Dilemma: The Choice Between Virtue and Vice," remain celebrated for their detailed craftsmanship and symbolic richness, housed in prestigious museums including the Museum of Fine Arts, Boston.
For collectors and art history aficionados, Francken's oeuvre offers a rich tapestry of Baroque artistry, reflecting the dynamism of 17th-century Flemish culture and the depth of humanistic and religious themes explored during the period.
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Jan Erasmus Quellinus was a Flemish painter and draughtsman, one of the last prominent representatives of the Flemish school of historical and portrait painting of the 17th century.
Jan came from a famous family of painters and sculptors, his father, the painter Erasmus Quellinus II (1607-1678), being his first and principal teacher. Later in Italy, he became a member of the Bentvueghels, a group of mainly Dutch and Flemish artists working in Rome. Back in Antwerp, Jan Quellinus received many commissions for churches in the city and throughout Flanders, and he also had many pupils.
Around 1680, Quellinus worked in Vienna at the Habsburg court as court painter to Emperor Leopold I. Among his other important works was a series of fifteen ceiling paintings of events in the life of Charles V. Some of these works are now in the Kunsthistorisches Museum in Vienna.
Philippe de Champaigne was a French painter and engraver of Flemish origin, a major representative of the French Baroque school. He was one of the founders of the Royal Academy of Painting and Sculpture in Paris. Champaigne created a very large number of portraits of the high nobility, as well as paintings on religious themes.
Cesare Dandini was an Italian painter of the Baroque period, active mainly in his native city of Florence. He was the older brother of the painter Vincenzo Dandini. He enrolled in 1621 in the Accademia del Disegno. His style has the polish and attention to draughtsmanship and design characteristic of Florentines like Carlo Dolci.
Anthony van Dyck, a Flemish painter born in 1599 in Antwerp and passed away in 1641 in London, is celebrated as one of the foremost Baroque painters of the 17th century. His notable contributions to the art world include his exceptional portraits of European aristocracy, as well as his religious and mythological paintings. Van Dyck's early exposure to art was influenced significantly by his apprenticeship with Hendrik van Balen and later, by the profound impact of working alongside Peter Paul Rubens. His mastery was recognized early on, leading him to set up his own workshop by the age of 15.
Van Dyck's journey to Italy in 1621 marked a pivotal phase in his career, allowing him to immerse himself in studying the Italian masters and commencing his successful stint as a portraitist. His style evolved under the influence of Titian, evident from his vibrant use of color and refined modeling of form. Van Dyck's Italian period not only honed his artistic skills but also established his reputation as a painter of consequence.
Upon returning to Antwerp, van Dyck's portraits became highly sought after, leading to commissions from notable figures such as Archduchess Isabella and Queen Mother Maria de' Medici. His role as a court painter further solidified in England under the patronage of King Charles I, where he was knighted and appointed as the principal painter, profoundly shaping the aristocratic character of Charles I's reign through his portraits.
Van Dyck's legacy extends beyond his death, having influenced English portrait painting for over a century. His innovative techniques in watercolour and etching, along with his sophisticated portrayal of subjects, continue to be admired. His art not only showcases his technical prowess but also reflects the cultural and social nuances of his era, making his work a significant study for collectors and art historians alike.
For enthusiasts eager to explore the intersections of art, history, and culture through the lens of Anthony van Dyck's work, staying informed about new discoveries and auction events is essential. Signing up for updates can provide exclusive insights into the world of one of the most influential figures in Flemish art. This subscription ensures that collectors and experts are well-informed of any developments related to van Dyck's oeuvre, enhancing their understanding and appreciation of his contributions to the art world.
Jan-Baptiste le Saive the Elder, also Jan le Saive, Jean de Namur le Jeune, was a Flemish Baroque painter.
Apparently Jan Baptiste was trained in painting by his artist father, Jean le Saive (1540-1611). He painted altarpieces and religious scenes in cathedrals, as well as genre scenes and portraits. His son was the painter Jean-Baptiste le Saive the Younger (1604-1641).
Christoffel Jacobsz7 van der Lamen was a Flemish painter who specialized in depicting scenes with merry parties in taverns and public houses, inns, and gardens.
Reyer Claesz. Suycker was a Dutch landscape painter of the Golden Age of Dutch painting.
Reyer was born into the family of a master painter from Haarlem, Nicolas Suycker. In 1639 he joined the Haarlem guild of St. Luke, and in 1643 he became its dean.
Johann König was a German painter. The son of a Nuremberg goldsmith, König was a follower of Adam Elsheimer. He is known today primarily because of his very finely painted copper panels.