Many of his works depict the hunt, designs which became so popular they were translated into prints. Stradanus collaborated with printmakers Hieronymus Cock and the Galle family in Antwerp to produce hundreds of prints on a variety of subjects, most of which were repeatedly reproduced and often bound into volumes. He also worked with Francesco Salviati in the decoration of the Vatican Belvedere. He was one of the artists involved in the Studiolo of Francesco I (1567-1577), to which he contributed two paintings including The Alchemist's Studio.
He died at Florence in 1605. More
In 1622 he painted the St Francis Xavier preaching in India for the church of San Giovannino degli Scolopi in Florence, and a canvas of Narcissus and Herminia among shepherds commissioned by the cardinal Carlo de' Medici for his Casino di San Marco. He also executed seven lunettes in the chapel of Villa del Poggio Imperiale with the Story of Mary Magdalen. Curradi painted the Crowning of the Virgin in 1646 for the Benedictine Abbey of Vallombrosa, and a Preaching of John the Baptist for the Rondoni chapel in the church of Santa Trinita in 1649. The Uffizi has two paintings: a Martyrdom of Santa Tecla and a Beatification of the Magdalen. More
She refuses to be blackmailed and is arrested and about to be put to death for promiscuity when a young man named Daniel interrupts the proceedings, shouting that the elders should be questioned to prevent the death of an innocent. After being separated, the two men are questioned about details of what they saw but disagreed about the tree under which Susanna supposedly met her lover. The great difference in their stories makes the elders' lie plain to all the observers. The false accusers are put to death, and virtue triumphs. More
Pieter van Lint or Peter van Lint (1609–1690) was a Flemish painter, draughtsman and designer of tapestries. He excelled in history paintings, genre scenes and portraits in the Flemish Baroque style with some Classisizing influence. He worked in Antwerp and Italy.
He was born in Antwerp where he trained under Artus Wolffort. During his training he frequently visited Antwerp’s churches to copy the paintings of his contemporaries such as Peter Paul Rubens as well as those of earlier generations such as Marten de Vos and the Francken brothers.
Van Lint become a master in the Guild of Saint Luke in 1633. In that same year he traveled to Rome where he remained until 1640. In Rome he worked for Cardinal Domenico Ginnasi, Bishop of Ostia, who employed him to decorate the local cathedral. Van Lint also frescoed the Cybo family chapel in the Santa Maria del Popolo with the Legend of the True Cross in 1636-40. In addition to religious commissions, the artist painted numerous small genre scenes in the style of the Bamboccianti.
His son Hendrik Frans van Lint was a celebrated landscape painter in Rome.
He died in Antwerp. More
Hans von Aachen (1552 – 4 March 1615), was a German mannerist painter. He was born in Cologne, but his name is derived from the birthplace of his father, Aachen, in Germany. He began painting in Germany as a pupil of the Flemish master E. Jerrigh. He then spent a long period in Italy. He lived in Venice from 1574 to 1588 and toured Florence and Rome during that period. He initially became a pupil of Kaspar Rems, but soon decided to develop his own mannerist technique, by studying Tintoretto and Michelangelo's followers. However, during all of his life he was influenced by the style of Bartholomeus Spranger and Hendrick Goltzius who dominated the art scene in Germany at the time.
He returned to Germany in 1588 where he became well known as a painter of portraits for noble houses. He also produced historical and religious scenes and earned a wide reputation. He painted several works for Duke William V of Bavaria. He married Regina, the daughter of the composer Orlando di Lasso in Munich. In Munich he came into contact with the Imperial Court in Prague. In 1592 he was appointed official painter of Rudolph II, Holy Roman Emperor. However, Von Aachen only moved to Prague years later, where he stayed and was commissioned to paint mythological and allegorical subjects such as his Liberation of Hungary (1598, Budapest). Emperor Rudolph II conferred knighthood on him in 1605. He died in Prague. More
Of nearly every composition by or attributed to De Backer two or more versions exist and large-scale depictions of the Last Judgment were one of the signature products of De Backer’s studio, and were produced in large numbers. The present work is a competently executed version of the Goetkind epitaph. The composition and graceful figures recur in De Backer’s treatment of the Last Judgment in the Antwerp Koninklijke Museum voor Schone Kunsten (inv. 653), a painting that has long been regarded as the artist’s earliest dated work of 1571.
The subject of the Last Judgment allowed for the depiction of large groups of naked figures and invited De Backer to explore a novel stylistic idiom inspired by contemporary Florentine and Roman art – especially Bronzino, Vasari and Salviati – and which places the idealized beauty of the human body at centre stage. The present panel exemplifes De Backer’s art beautifully.