François du Quesnoy is a sculptor and a drafstman, born in Brussels and who comes from an artistic family. His father and instructor is the sculptor Hieronymus Duquesnoy I (ca. 1570-1641/42). Du Quesnoy is the brother of the sculptor and architect Jerôme Duquesnoy II (1602-1654).

Du Quesnoy works for nearly the entirety of his career in Rome and becomes known there as Francesco Fiammingo. The artist promotes the interests of the Flemish colony there and is a member of the Academia di San Luca and of the elite Virtuosi al Pantheon. Du Quesnoy lives in the same house as Nicolas Poussin (1594-1665).

In the beginning of his career, du Quesnoy makes small sculptures for the free market and restores antique sculptures. He would undertake famous works such as the Rondanini Faun (Victoria and Albert Museum, London). The sculptor makes small-scale copies of well-known works such as the Torso Belvedere and Laocoön and is known for his talent for sculpting children, by which he gains a name as a putti-artist. Roman connoisseurs are interested in the young du Quesnoy, who comes under the influence of the patronage of the Barberini family. He has contact with Cassiano dal Pozzo, secretary of Cardinal Francesco Barberini, for whom he makes the bas-relief The Sleeping Silenus. (Personally made bronze copies are present in the Rubenshuis, Antwerp).

The sculptor du Quesnoy is an important representative of the Classicist and monumental branch of the Baroque, which in Rome has great success beginning in the 1620's. These artists, amongst whom Domenichino is important, follow the example of the Bolognese Annibale Carracci (1560-1609).

Duquesnoy assists Gianlorenzo Bernini (1598-1680) with his monumental canopy in the St. Peter's Basilica in Rome. He is responsible for making the putti. Bernini was also responsible for securing the commission of the St. Andreas, one of the 4 sculptures in a niche at the foot of the columns under the copula of St. Peter's Basilica. This prestigious assignment indicates the renown of the artist in Rome, at the time the epicenter of art.

Du Quesnoy is also grounded in the making of stylised and timeless appearing portrait busts, in which he gives attention to the realistic rendering of cloth. Du Quesnoy has the opportunity to become the director of the department of sculpture for the yet to be established French academy, but his untimely death prevents this. In 1633, François Du Quensoy is regaled as penultimate competent sculpture in Rome, only after Bernini.

1597

François Du Quesnoy is born in Brussels.

1618

Father Hieronymus Duquesnoy I requests a grant from the Archduke Albert for the work that his son François helped carrying out for the Brussels' court.

AUGUST 1618

With the grant from Archduke Albert, François departs for Rome along with his brother Jerôme Duquesnoy II. According to report the brothers have a falling out after a disagreement.

1621

Archduke Albert dies. This means an end to the salary for Du Quesnoy. The artist decides to stay in Rome, but sees it necessary to work in the studio of Claude Poussin (dies 1661). The restoration of antique sculptures is presumed to be connected to the loss of the remuneration and the necessity to seek his income elsewhere.

1627

The Roman Mason's guild order from Du Quesnoy a Saint Susanna for the Church of Santa Maria di Loreto. The artist completes the sculpture, which raises praise from his contemporaries, between 1629 and 1633.

1627-1628

Du Quesnoy comes into contact with Gianlorenzo Bernini for the first time. He helps him with the making of the angels of the canopy in the Saint Peter's Basilica in Rome.

1629-1639

Bernini is, on commission from Pope Urbanus VIII, responsible for the commission of the Saint Andreas, one of the 4 monumental sculptures in a niche at the foot of the columns under the copula of the Saint Peter's Basilica in Rome. The other artists are Bernini (St. Longinus), Andrea Bolgi (1605-1656) (St. Helena) and Francesco Mochi (1580-1654) (St. Veronica). Andreas' pose is controlled, but the sculpture looks more Baroque than is expected from Du Quesnoy. This must be attributed to Bernini's guidance.

1633

Via Pietro Pescatore, or De Visschere as this Fleming actually is named, du Quesnoy gets the commission to make a funerary monument for Ferdinand van den Eynde. (Santa Maria dell'Anima, Rome). Pescatore introduces Duquesnoy to various art connoisseurs, amongst whom is probably Filippo Colonna. For Colonna, du Quesnoy makes an ivory crucifix, which later comes into the possession of Pope Urban VIII. Consequently the Pope orders two more small works.

In this year, the artist is called as the best sculpture in Rome, only after Bernini.

1639

Along with Poussin, du Quesnoy is invited to Paris by Cardinal Richelieu (1585-1642) and Lodewijk XIII. Duquesnoy gets the offer for the position of the director for the department of sculpture in the still to be constructed Académie Royale de Peinture et de Sculpture. Only in 1643 does du Quesnoy make a start to travel to Paris, because, inter alia, he is forbidden by the Spanish authorities to work for the King of France.

1642

Antonius Triest (1576-1657), Bishop of Ghent, orders from du Quesnoy a tomb monument for the Ghent Saint Bavo Cathedral, but the artist refuses the commission due to his upcoming trip to France. Du Quesnoy, however, does make a few terracotta models for putti. The monument is later made by his brother Jerôme Duquesnoy II (1602-1654).

19 JULY 1643

The artist travels together with his brother Jerôme to France. François du Quesnoy becomes sick on the way and dies in Livorno.

Matthias Depoorter

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Jerôme Duquesnoy II is a sculptor and architect born in Brussels and who comes from an artistic family. His father and teacher is the sculptor Hieronymus Duquesnoy I (ca. 1570-1641/42). Duquesnoy is the brother of the sculptor François du Quesnoy (1597-1643).

Jerôme is an exceptionally trained professional, but always remains in the shadow of his brother François, who is a more original and influential artist. Jerôme grafts his art off of that of his older brother. The art of Duquesnoy is in general openly Classicist: sober, with a sensitive Realism and controlled expression. Jerôme Duquesnoy is a successful sculptor who stands out in the art of portrait.

The high point at the end of his career is a collective work of art: the Tomb monument of Bishop Antonius Triest (1576-1657) in the choir of the Saint Bavo Cathedral in Ghent. The artist designs an architectural setting of white and black marble. He introduces the Italian example into the Southern Netherlands whereby the image of the deceased is the focal point of an allegorical setting. Duquesnoy freely borrows from his brother, Michelangelo (1475-1564) and Bartolomeo Ammannati (1511-1592).

1602

Jerôme Duquesnoy II is born in Brussels.

1618

Duquesnoy departs for Rome with his brother François. According to report, the brothers have a falling out after a disagreement.

BEFORE 1640

Duquesnoy works primarily in Spain and Portugal during this period.

BETWEEN 1641 AND 1643

After a stay of 6 months in Tuscany, Duquesnoy is present in Rome. There he has contact with his brother François du Quesnoy. Jerôme accompanies his brother on a trip to Paris, where François du Quesnoy can become the Director of a department of sculpture in the yet to be constructed Académie Royale de Peinture et de Sculpture. François becomes sick on the way and dies in Livorno on 19 July 1643.

Jerôme returns to Brussels and among other things takes models and drawings out of his brother's studio.

1644

The council of Brabant compensates Duquesnoy for a Saint Thomas destined for the Cathedral of Saint Michael and Saint Gudula in Brussels.

1645

Duquesnly is named as right-hand man of architect Jacob Francart (1583-1651). In 1646 he draws the plan for the Our Blessed Lady chapel in the Cathedral of Saint Michael and Saint Gudula and leads the construction.

1646

Duquesnoy completes 3 more apostle images for the Cathedral of Saint Michael and Saint Gudula.

AFTER 1646

Images of Saint Phillip and Saint Matthew are made for the Our Blessed Lady of Kapelle Church in Brussels.

1651

Architect Jacob Francart dies. The consequence for Duquesnoy is that thenceforward he goes through life as "architecte, statuaire et sculpteur de la Cour". In that capacity Duquesnoy completes several portraits of Governor Leopold Wilhelm (1614-1662). (Kunsthistorisches Museum, Vienna)

A contract for the tomb monument of Bishop Antonius Triest (1576-1657) in the choir of the Saint Bavo Cathedral in Ghent is drawn up. Already in 1642, Antonius Triest approached François du Quesnoy, but the artist declined the commission because of his upcoming visit to France. François du Quesnoy nevertheless made a few terracotta models for putti. Although the new contract does not mention the models, Jerôme took over the designs of his brother.

AFTER 1651

The marble Saint Ursula, a commission by the family Thurn and Taxis, is placed in the Our Blessed Lady of Zavel Church in Brussels.

1654

Duquesnoy lives in Ghent to finish the tomb of Antonius Triest.

28 SEPTEMBER 1654

Jerôme Duquesnoy II dies in Ghent. On the charges of sodomy, Duquesnoy's life was ended.

Matthias Depoorter

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Adriaen Brouwer is a painter and a draftsman originating from the Southern Netherlands. Brouwer is active both in the Northern as well as Southern Netherlands. Rather little is known about his life. He accrues many debts, but is also a member of the Rhetoric Chamber De Violieren. Few works of his are signed, not one is dated. Brouwer's work consists out of merely some sixty paintings that are nearly all in small format.

He primarily enjoys fame as a genre painter. Rural pieces with card players, smokers, gluttons and fighters in inns make up his signature work. These pieces with common people have a moralistic ground and contain references to moralistic literature or even possibly indicate a Neo-Stoic stance. In the latter case, the many gradations of anger in Brouwer's work are a form of a lack of Stoicism.

Brouwer is influenced by Dirck Hals (1591-1656) in Haarlem, among others. Around 1630, Brouwer's palette is marked by browns, greys and greens. Setting and figures form a unity. The artist paints personages with expressive and dramatic facial expressions on stage. They teeter on the edge of caricature. Shrewd detail is given to the interiors.

The painter has a notably free, sketchy manner of painting, whereby he thinly applies the paint. The artist also paints a few late landscapes in addition to the rural pieces. They appear atmospheric and are also painted with a loose touch.

Adriaen Brouwer has a significant influence on his contemporaries in Antwerp and Haarlem. One of his followers is David Teniers II (1610-1690). Both Rubens and Rembrandt value his work. Rubens has 17 works of the artist in his possession.

1605-1606

Adriaen Brouwer is possibly born in Oudenaarde.

1622

Brouwer is active in Antwerp.

MARCH 1625

Adriaen Brouwer resides in Amsterdam. He stays in the inn of the painter Barent van Someren (ca. 1572-1632).

1626

Adriaen Brouwer probably lives and works in this period in Haarlem. He becomes a "beminnaer" of the Rhetoric Room, De Wijngaertranken in Haarlem. The motto of this amateur literary circle is: In Liefde Boven Al (In Love Above All else).

On 23 July, he is named in a suit in which he is witness to a declaration of Barend van Someren and Adriaen van Nieulandt regarding sale of paintings signed.

1631-1632

Brouwer obtains the status of Free Mastership in the Antwerp Saint Luke Guild. The artist remains in Antwerp until his premature death. Brouwer shows up more times in the city documents. Usually they are dealing with debts he owes.

1633

Possibly because of tax evasion, or because of political reasons, Brouwer is put in jail.

1634

Brouwer is free and lives in the house of the engraver Paulus Pontius and becomes a member of the Antwerp Rhetoric Chamber, De Violieren.

1635

Jan-Baptist Dandoy (active 1631-1638) is registered as a student. He is the only student who can officially be connected to Brouwer.

JANUARY 1638

Adriaen Brouwer dies in Antwerp and is buried on 1 February in the Carmelite Church.

Matthias Depoorter

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Jan Wildens is an Antwerp painter and draftsman, who in the first place enjoys renown as an accomplished landscape painter. He is a student of Pieter van der Hulst I (1565/70-1627/28), of whom no work survives.

In the period preceding Wildens' Italian journey (before 1614), on a compositional level the painter is influenced by a variety of Masters such as Gillis van Coninxloo III (1544-1606), Jan Brueghel I (1568-1627), Joos de Momper II (1564-1635) and Adriaen van Stalbemt (1580-1662).

Once in Italy, Wildens is inspired by the Realism and the eye for detail in the art of Paul Bril (1553/54-1626). During his whole career he will remain true to his earliest influences. The aspect of the dynamic High Baroque of Peter Paul Rubens (1577-1640) is something he, however, never adapts. Symmetrically constructed compositions, a soft palette and a serene character are characteristics of Wildens' balanced art. A compelling example of his idyllic landscapes with monumentally large trees is Wildens' painting Landscape with Dancing Shepherds (KMSKA, Antwerp).

After 1640, Wildens will use the rather sketchy method and the vibrating, atmospheric light that Rubens adopts in his own later landscapes. He also enhances the dramatic element.
The respect of his contemporaries for Wildens' craft is seen by the many cases of collaboration. Wildens provides landscape backgrounds in the works of artists such as Abraham Janssens (ca. 1575-1632), Rubens, Frans Snijders (1579-1657), Gerard Seghers (1591-1651), Jacob Jordaens I (1593-1678), Paul de Vos (1595-1678), Theodoor Rombouts (1597-1637), Cornelis Schut (1597-1655) and Jan Boeckhorst (ca. 1604-1668).

1585-86

Jan Wildens is born in Antwerp.

1596

Wildens is registered as a student of Pieter van der (I) Hulst.

1604

The artist becomes Free Master in the Saint Luke Guild in Antwerp.

22 May 1613

In his will and testament, Wildens mentions that at that moment he is 27 years old.

After 1614

Wildens stays on the Italian peninsula.

Circa 1615-1616

A series of 12 landscapes that cover the 12 months appears in this period. The works were also published in print form. (Palazzo Bianco, Genoa)

1616-1618

The artist is back in Antwerp. Wildens' hand is identified in the pattern boards for Rubens' tapestry series on Decius Mus. He is responsible for the landscapes in the background. Wildens lends a hand with various paintings of Rubens: Diana and her Nymphs prepare for the hunt (Cleveland Museum of Art, Cleveland), Simon and Iphigenia (Kunsthistorisches Museum, Vienna), The Rape of the daughters of Leucippus (Alte Pinakothek, Munich), Samson and the Lion (Private collection, Madrid).

14 March 1617

Sir Dudley Carlton writes to John Cage that he regrets that for Cage's visit to Antwerp in 1616 that he is not able to present him an exceptional landscape painter. It is taken that Carlton means Jan Wildens here.

12 November 1619

Marie Stappaert and Jan Wildens marry in the Cathedral of Our Lady in Antwerp. Rubens is a witness of the wedding. The couple has 2 children who both become painters: Jan Baptist (1620-1637) and Jeremias (1621-1653), who in 1646-47 becomes a Free Master in the Saint Luke Guild.

1624

Wildens paints Winter Landscape with a Hunter (Gemäldegalerie, Dresden).
The artist opens a gallery that enjoys success and that is later taken over by Jeremias Wildens.

1631

Landscape with Dancing Shepherds is completed by the artist (KMSKA, Antwerp).

1640

Peter Paul Rubens dies in Antwerp. Jan Wildens functions as testamentary executor.

16 October 1653

Jan Wildens dies in Antwerp.

Matthias Depoorter

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Theodoor van Thulden is an Antwerp painter, draftsman and print artist who immigrated there from the Northern Netherlands. He primarily completes history pieces and mythological works of art, as well as ones influenced by literature. The influences that he gained in the Southern Netherlands, he consequently introduces to the Northern Netherlands. He is a talented and successful artist and one of the best decorative painters of his time.

Van Thulden was heavily under the influence of Peter Paul Rubens (1577-1640), whose style he copies and from whom he derives motifs. That van Thulden worked in Rubens's studio has yet to be proven. In the beginning of his career, the artist is influenced by Mannerism. Amongst others, he makes etchings after the works of Francesco Primaticcio (1504-1570) and Nicolò dell'Abate (ca. 1509-1571) in Fountainbleau.

Van Thulden's art becomes more elegant and he evolves during the time of Classicism. Despite his success-he is chosen as dean of the Antwerp Saint Luke Guild in 1639 and 1640-van Thulden has financial problems. In 1644, he is back in his hometown of ‘s-Hertogenbosch. Only in the latter part of his career does the influence of Mannerism and Rubens begin to wear off, and the artist finds a more personal élan. Van Thulden explores the portrait genre and makes group portraits of important families. At this moment, politically laden allegories also arise, amongst others, for the City Hall of ‘s-Hertogenbosch. Churches in the Southern Netherlands also approach him for altarpieces.

9 August 1606

Theodoor van Thulden is born in ‘s-Hertogenbosch.

1621-22

In this period, van Thulden is a student of the portrait painter, Abraham Blyenberch (Active 1617-1623) in Antwerp.

1626

Van Thulden obtains the status of Free Mastership in the Saint Luke Guild of Antwerp.

1631-1633

The painter resides in Paris and paints a series of 19 canvases regarding the life of Saint John of Matha for the church of the Trinitarians. The series is survived via

the etchings in the book Revelatio ordinis SSmae Trinitatis that was published in Paris in 1633.

Van Thulden copies the decorations of Francesco Primaticcio and Nicolò dell'Abate in the Galarie d'Ulysse in Fountainbleau. The gallery was destroyed in the 18th Century, making van Thulden's copies an important source.

The etching series Les Travaux d'Ulysse is published in Paris in 1633.

24 July 1635

Theodoor van Thulden marries Maria van Balen. Maria is the daughter of the painter Hendrick van (I) Balen (1573-1632) and godchild of Peter Paul Rubens.

1635

For the Pompa Introitus Ferdinandi, the commemorative book of the Glorious Entrance of Cardinal-infant Ferdinand in Antwerp in 1635, van Thulden completes gravures after designs by Rubens. The gravures were only published later in 1642. The paintings that he made for this occasion have gone lost.

1636

Van Thulden is registered as a citizen of the City of Antwerp.

1636-1638

Along with other artists, van Thulden works on the mythological decorations (after oil sketches by Rubens) of the hunting pavilion Torre de la Parada of Philip IV near Madrid. He paints two works based on the sketches by Rubens.

1637-1640

Van Thulden is active in Antwerp in this period.

1639 and 1640

The artist is chosen as dean of the Saint Luke Guild in Antwerp in these years.

Circa 1640

In the 1640's van Thulden makes political allegories for his hometown of ‘s-Hertogenbosch as well as works of a religious nature.

The financial situation of the artist is not good and obliges him to return to ‘s-Hertogenbosch.

1644-1669

Van Thulden remains in ‘s-Hertogenbosch until his death.

1646

Van Thulden paints Maid of Holland and Righteousness (City Hall, ‘s-Hertogenbosch) and Perseus and Andromeda (Musée des Beaux-Arts, Nancy).

1647

The Trinitarians in Paris again commission a job for van Thulden. He is asked to paint three canvases for the high altar. (Musée de Grenoble, Grenoble; Musée des Beaux-Arts, Angers; Notre-Dame-de-la-Couture, Le Mans).

1648-1651

For the Orange Hall in Huis ten Bosch (in the vicinity of The Hague), van Thulden paints 6 large allegorical adorations for the House of Orange. He is present there along with Jacob (I) Jordaens (1593-1678) and other artists from Antwerp.

1656-1663

Based on pattern boards by van Thulden, glass artist Jean de Labarre (1603-1668) is asked to complete three large glass windows for the Our Lady Chapel in the Cathedral of Saint Michael and Saint Gudula in Brussels.

June 1655

Van Thulden becomes the tutor of painter Hendrick van (II) Balen (1623-1661)

12 July 1669

Theodoor van Thulden dies in ‘s-Hertogenbosch.

Matthias Depoorter

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Jan van den Hoecke is an Antwerp painter, draftsman, and designer of wall tapestries. It is possible he receives his first lessons from his father Caspar van der Hoecke II (1595-1648). In the beginning of his career, van den Hoecke is a student of Peter Paul Rubens (1577-1640). He is stylistically related to the great Master. Van den Hoecke combines the achievements of the art of Rubens with the 17th-century Italian Classicism.

It is supposed that the painter studied the ancients in Italy. There, he is influenced also by various contemporary artists. Important in this respect is the influence of Guido Reni (1575-1642) with his idealised figures. Van den Hoecke is the court painter of Governor Leopold Wilhelm (1614-1662), who has him complete copies after the work of Reni. The oeuvres of Domenichino (1581-1641), Nicolas Poussin (1594-1665) and Andrea Sacchi (1599-1661) are also an inspiration for the Antwerp painter.

His most important and most elaborate commission is the design of a series of 12 wall tapestries for Leopold Wilhelm around 1650. Van den Hoecke receives the help of other artists who are responsible for specific figures and still-life motifs.

At the end of his career, van den Hoecke is influenced by Anthony van Dyck (1599-1641), which is seen in a work such as Adoration of the Christ-child by Saint Francis of Assisi (KMSKA, Antwerp).

July 1611

Jan van den Hoecke is born in Antwerp.

Circa 1630

The artist works with Peter Paul Rubens.

1635

Van den Hoecke works along with his father and other artists on the decorations of the Glorious Entrance of Cardinal-infant Ferdinand (1609-1641) (Pompa Introitus Ferdinandi), after the designs of Rubens.

Circa 1637-1644

Van den Hoecke stays on the Italian peninsula. In 1644, the artist becomes a member of the select club, Virtuosi al Pantheon.

1644-1647

The artist establishes himself in Vienna and works for the Habsburg court.

1647-1650

Van den Hoecke returns to the Southern Netherlands. He becomes court painter for Archduke Leopold Wilhelm, Governor of the Southern Netherlands and makes several portraits of his liege.

Circa 1650

For Governor Leopold Wilhelm, van den Hoecke designs the pattern boards for a series of 12 wall tapestries on the motif of vanitas. Several artists work on the series. (See, for example, the pattern board for the months of March and April, Kunsthistorisches Museum, Vienna).

1651

Jan van den Hoecke dies in Antwerp.

Matthias Depoorter

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Jan Erasmus Quellinus is an Antwerp painter and draftsman and comes from an artistic family. He is the son of the artist Erasmus Quellinus II (1607-1678), who trains him in the painter's trade. The physiognomy of his figures goes back to the oeuvre of his father. Quellinus takes the Classicism of his father even further, joining up with Paolo Veronese (1528-1588), borrowing grandeur and all types of dynamic details. Notably in that regard is the usage of Palladian architectural elements in his paintings. While his father was never in Italy, Jan Erasmus Quellinus indeed travels to the Italian Peninsula. Among others, he copies the work of Veronese.

The painter completes a large number of monumental altarpieces and other religious works for abbeys and cloisters in Brabant. Quellinus enjoys a successful career.

1634

Jan Erasmus Quellinus is born in Antwerp.

CIRCA 1649

Quellinus is trained by his father.

CIRCA 1657-1659

The artist stays in Rome.

CIRCA 1660-1661

Quellinus stays in Venice. A clear indication of this is given by the drawing Madonna with Saints, in the style of Veronese (Museum Boijmans van Beuningen, Rotterdam). The inscription on the drawing reads: J.E. Quellinus F. inventia AN 1660.

In Rome, Quellinus joins the Schildersbent, a group consisting of artists from the North. He receives the nickname Cederboom there.

The artist becomes Free Master in the Antwerp Saint Luke Guild.

1662

Jan Erasmus Quellinus and Cornelia Teniers, the daughter of painter David Teniers II (1610-1690) are married.

1672

Quellinus receives a commission for paintings destined for the Antwerp Saint Michael's Abbey. One of the four remaining works is The Well of Bethesda from the collection of the Royal Museum of Fine Arts in Antwerp.

CIRCA 1680

Quellinus stays in Vienna and works for the Habsburg court. He becomes court painter of Emperor Leopold I. Among other works, the artist makes 15 ceiling paintings regarding the life of Karel V. (Kunsthistorisches Museum, Vienna)

1685

Miracle of Saint Hugh of Lincoln is painted in this year (KMSKA, Antwerp).

1689

Quellinus makes the painting The Nativity (KMSKA, Antwerp).

1702

The painting Saint Francis Xavier before the Emperor of Japan comes about this year. (Our Lady of Saint Peter's Church, Ghent).

1712-1715

The artist stays in Mechelen.

11 March 1715

Jan Erasmus Quellinus dies in Mechelen.

Matthias Depoorter

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Abraham van Diepenbeeck is the son of a glass painter, a trade that van Diepenbeeck learns from his father. Van Diepenbeeck primarily designs glass windows, prints for books and tapestries. He designs glass windows for a number of Antwerp churches and cloisters. Van Diepenbeeck's productivity is known for his many design drawings and oil sketches. Prints that the artist designs are published by important printers such as Van Meurs and Plantin-Moretus. One of the highlights with regards to his designs of prints is the series for Temple des muses in the late 1630's.

Van Diepenbeeck is eclectic and uses motifs and stylistic elements from other artists in his works. Before 1640, the artist is in direct contact with the studio of Peter Paul Rubens (1577-1640), an influence that clearly shows in his work. Rubens appeals to the artist to interpret some of his ideas into prints or to make copies of the work of other artists, such as Francesco Primaticcio (1504-1570) and Nicolò dell'Abate (ca. 1509-1571) in Paris and Fontainebleau. It is supposed that van Diepenbeeck also had hand helping with painting series by Rubens.

In the 1630's van Diepenbeeck ventures into monumental painting work to a limited degree. After 1640, the influence of Anthony van Dyck (1599-1641) can be noted in the expressive postures and facial expressions.

9 MAY 1596

Abraham van Diepenbeeck is born in ‘s-Hertogenbosch.

1622-1623

Van Diepenbeeck is taken in as Master glass painter in the Saint Luke guild of Antwerp.

1626-1627

There are strong suspicions that van Diepenbeeck, along with the studio of Rubens, helps on the poster boards of the tapestry series, The Adoration of the Eucharist.

1627

Van Diepenbeeck follows the instructions of Rubens to make a design drawing for the Vitae Patrum of Heribertus Rosweyde (published by Plantin-Moretus).

CIRCA 1632

Rubens asks Abraham van Diepenbeeck to make drawings after frescoes by Francesco Primaticcio (1504-157) and Nicolò dell'Abate (ca. 1509-1571) in Paris and Fontainebleau.

4 JANUARY 1636

The artist is registered as a burgher of the City of Antwerp.

1636

Van Diepenbeeck makes a design drawing for the print of Neptune and Minerva, basing it on material by Rubens.

JUNE 1637

Catharina Heuvick and Abraham van Diepenbeeck are married. The couple has eight children.

1638

Van Diepenbeeck obtains the status of Free Mastership in the Antwerp Saint Luke guild.

CIRCA 1640-1650

Van Diepenbeeck paints The Blessed Waltman crowned as abbot of St. Michiels in Antwerp (Saint Fredegandus Church, Deurne).

1641

The artist becomes dean of the Antwerp Saint Luke guild.

1648

In this year, van Diepenbeeck receives the commission to make sketches for a series of monumental paintings on the life of Psyche. The series is carried about by other painters from Antwerp for the Honselaarsdijk Palace (Holland) of the Stadtholder Prince Frederik Hendrik of Orange (1584-1647). (At the beginning of the 19th Century, much of the palace is destroyed. The paintings have not survived).

13 MAY 1652

After the death of his first wife, van Diepenbeeck marries Anne van der Dort, with whom he has four children.

AFTER 1660

In the last half of his life, the artist busies himself nearly exclusively with designs for books and tapestries.

31 DECEMBER 1675

Abraham van Diepenbeeck dies in Antwerp.

Matthias Depoorter

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The Jesuit Daniël Seghers is a painter, who for the majority of his life is active in Antwerp. He is a student of Jan Brueghel I (1568-1625) and is primarily well known for his floral pieces.

Daniël Seghers is specialised in the rendering of garlands and festoons crafted from flowers, which were placed as a frame around devotional paintings, whether in niches or medallions. The devotional paintings are done at the hands of other artists, amongst which are such painters as Peter Paul Rubens (1577-1640), Erasmus Quellinus II (1607-1678) and Abraham van Diepenbeeck (1596-1675). In addition, Seghers also paints flower vases.

There is a symbolic agreement between the sort of flowers and the religious paintings, particularly with regards to the Saints. Stylistically, in the beginning, there is clearly the influence of Jan Brueghel I. From 1630 on, Seghers strives for a more lively painting of flowers in more naturally appearing arrangements. Seghers's flowers light up against the darker background and have a sculptural character. Blooming seasons were not respected, just as with the case of Brueghel.

In the work of Seghers, one can read the Counter Reformation message of the Jesuit order. In addition to the obvious meaning of the devotional paintings, the flowers are meant to awaken the contemplation of the faithful.

Seghers paints for an international clientele: both important religious figures as well as worldly rulers belong to his client base. The work of Daniël Seghers experiences significant imitation.

3 December 1590

Daniël Seghers is born in Antwerp.

Circa 1601

Seghers's father Pierre dies. The young Seghers moves with his mother to the North, probably to Utrecht. This is due to his mother's conversion to Calvinism.

1605-1609

Seghers is active in Utrecht.

1609

The artist is active in Antwerp.

1611

Seghers becomes Free Master in the Antwerp Saint Luke Guild.

1614

After his conversion to Catholicism the artist joins the lay brothers of the Jesuit order in Mechelen.

1621

Daniël Seghers is painter at the Collège de Bruxelles and paints two large floral garlands for the Cathedral of Saint Michael and Saint Gudula.

1625

The artist gives up the vows as priest. From now on he signs his work with Daniel Seghers Societatis Jesu.

1625-1627

Seghers is present in Rome in this period. The artist works together with Nicolas Poussin (1594-1665) on a few religious paintings.

For Cardinal Ludovisi, Seghers paints a floral garland that is filled with putti by the hand of the painter Domenichino (1581-1641).

1627

The artist is back in Antwerp.

1649

Charles II, King of England, visits Seghers in his studio in Antwerp.

2 November 1661

Daniël Seghers dies in Antwerp.

Matthias Depoorter

CC BY (Creative Commons 4.0)

Jan Janssens is a Ghent painter and draftsman. He is the most successful of the so-called Ghent Caravaggians. Between 1619 and 1620 he stays in Rome where he becomes acquainted with the so-called Utrecht Caravaggianism of Hendrik ter Brugghen (1588-1629), Gerard van Honthorst (1592-1656) and Dirck van Baburen (1594/95-1624). He is also influenced by the work of Bartolomeo Manfredi (ca. 1582-1622). Janssens brings the Caravaggio style back with him to Ghent, where he becomes requested for altarpieces. Now and then Janssens completes paintings for an international clientele.

Janssens primarily paints Biblical themes on large format. Favourite themes are Christ crowned with thorns and the mockery of Christ. With his merciless and sober realism and dramatic effects with hidden light that shines on his figures, Janssens responds to the prescriptions of the Counter Reformation. People speak of the emotional impact of his paintings.

There is little known about this underappreciated artist. For a long time, people thought that he was a so-called commercial artist. Reasons for this on the one hand are the scarcity of sources and the works, and on the other hand because of the many copies and replicas that are in circulation. One of his masterpieces is The Martyrdom of Saint Barbara (In actuality, it deals with Saint Agatha). (Saint Michael's Church, Ghent)

7 AUGUST 1590

Jan Janssens is born in Ghent.

1619-1620

The artist is active in Rome.

1621

Janssens is active in Ghent. In 1621, he becomes Free Master in the Ghent painters' guild. In that year, he paints Saint Jerome, an epitaph for the grave of his father Johannes Govaert Janssens. (Saint Nicholas' Church, Ghent)

29 AUGUST 1623

Petronilla de Rop and Jan Janssesn are married. The couple has 6 children.

1626

The Brotherhood of the Holy Cross orders a work for the Saint Michael's Church in Ghent, but it is ultimately Abraham (I) Janssens (1567-1632) who delivers the work.

1627

Janssens paints Christ Crowned with Thorns for the Our Lady of Saint Peter's Church in Ghent.

1634-1635

In these years, Janssens fulfills the function as dean of the Ghent painters' guild.

1636

The lay judges of Doornik ask Janssens to witness in a case of fraud concerning rapeseed oil being sold as linseed oil.

1640

In this year, Janssens receives the commission from the Brotherhood of Our Lady of Radiën to make a work for the Ghent Saint Bavo Cathedral. In 1644, the painting is delivered, not by Janssens, but by Nicolaas Liemaker (1601-1646).

1646

Janssens is dean of the Ghent painters' guild.

CIRCA 1650

Jan Janssens dies in Ghent. His house, De Pijl (The Arrow) is sold.

Matthias Depoorter

CC BY (Creative Commons 4.0)