Gerard van Honthorst was a Dutch Golden Age painter who became known for his depiction of artificially lit scenes, eventually receiving the nickname Gherardo delle Notti. Early in his career he visited Rome, where he had great success painting in a style influenced by Caravaggio. Following his return to the Netherlands he became a leading portrait painter. Van Honthorst's contemporaries included Utrecht painters Hendrick Ter Brugghen and Dirck van Baburen.
Hamilton Palace was a country house in Hamilton, South Lanarkshire, Scotland. It was the seat of the Dukes of Hamilton and is widely acknowledged as having been one of the grandest houses in the British Isles. The palace dated from the 14th century, was rebuilt in the Baroque style between 1684 and 1701 and was subsequently much enlarged in the Neoclassical style between 1824 and 1832.
Daniël Mijtens, known in England as Daniel Mytens the Elder, was a Dutch Golden Age portrait painter belonging to a family of Flemish painters who spent the central years of his career working in England.
The Massacre of the Innocents is the subject of two paintings by Peter Paul Rubens depicting the episode of the biblical Massacre of the Innocents of Bethlehem, as related in the Gospel of Matthew (2:13–18). The first, measuring 142 x 182 cm, was painted after his return to his native Antwerp in 1608, following eight years spent in Italy.
Thomas Willeboirts Bosschaert was a Dutch Republic-born Flemish Baroque painter.
Sir Peter Lely was a painter of Dutch origin whose career was nearly all spent in England, where he became the dominant portrait painter to the court. He became a naturalised British subject and was knighted in 1679.
Peter Snayers or Pieter Snayers (1592–1667) was a Flemish painter known for his panoramic battle scenes, depictions of cavalry skirmishes, attacks on villages, coaches and convoys and hunting scenes. He established his reputation mainly through his topographic battle scenes providing a bird's eye view over the battlefield. He further painted large landscapes and portraits of the aristocracy. He was a regular collaborator of local landscape painters and also Rubens.
Pieter Fransz de Grebber (c.1600–1652/3) was a Dutch Golden Age painter.
Jan Wildens was a Flemish painter and draughtsman specializing in landscapes. His Realist landscapes show an eye for detail and have a serene character. He was a regular collaborator with Rubens and other leading Flemish Baroque painters of his generation in whose compositions he painted the landscapes.
Wenceslas Cobergher, sometimes called Wenzel Coebergher, was a Flemish Renaissance architect, engineer, painter, antiquarian, numismatist and economist. Faded somewhat into the background as a painter, he is chiefly remembered today as the man responsible for the draining of the Moëres on the Franco-Belgian border. He is also one of the fathers of the Flemish Baroque style of architecture in the Southern Netherlands.
Sir Peter Paul Rubens was a Flemish artist and diplomat. He is considered the most influential artist of the Flemish Baroque tradition. Rubens's highly charged compositions reference erudite aspects of classical and Christian history. His unique and immensely popular Baroque style emphasised movement, colour, and sensuality, which followed the immediate, dramatic artistic style promoted in the Counter-Reformation. Rubens was a painter producing altarpieces, portraits, landscapes, and history paintings of mythological and allegorical subjects. He was also a prolific designer of cartoons for the Flemish tapestry workshops and of frontispieces for the publishers in Antwerp.
Isabella Brant, a portrait drawing, was executed in Antwerp around 1621, by Flemish artist and diplomat, Peter Paul Rubens (1577–1640). Brant (1591–1626) was Rubens' first wife and modelled for some of his portraits until her untimely death in 1626. The portrait is drawn in black and red chalk with white heightening on brown wash paper.
Venus with a Mirror is a painting by Titian, now in the National Gallery of Art in Washington, DC, and it is considered to be one of the collection's highlights.
Charles I with M. de St Antoine is an oil painting on canvas by the Flemish painter Anthony van Dyck, depicting Charles I on horseback, accompanied by his riding master, Pierre Antoine Bourdon, Seigneur de St Antoine.
Prometheus Bound is an oil painting by Peter Paul Rubens, a Flemish Baroque artist from Antwerp. Influenced by the Greek play, Prometheus: The Friend of Man, Peter Paul Rubens completed this painting in his studio with collaboration from Frans Snyders, who rendered the eagle. It remained in his possession from 1612 to 1618, when it was traded in a group of paintings completed by Rubens, to Englishman Sir Dudley Carleton in exchange for his collection of classical statues. This work is currently in the collection of the Palais des Beaux-Arts de Lille.
The Battle of the Amazons or Amazonomachia is an oil on wood painting produced around 1618. It shows an amazonomachy, i.e. a mythological battle between the ancient Greeks and the Amazons, a nation of all-female warriors.
The Whitehall group is a term applied to a small circle of art connoisseurs, collectors, and patrons, closely associated with King Charles I, who introduced a taste for the Italian old masters to England. The term usually includes the advisors and agents who facilitated the group's acquisition of works of art.
The Five Senses is a set of allegorical paintings created at Antwerp in 1617-1618 by Jan Brueghel the Elder and Peter Paul Rubens, with Brueghel being responsible for the settings and Rubens for the figures. They are now in the Prado Museum in Madrid. They are all painted in oils on wood panel, approximately 65 by 110 centimetres in dimensions.
The Adoration of the Magi is a very large oil painting by the Flemish Baroque painter Peter Paul Rubens. He first painted it in 1609 and later gave it a major reworking between 1628 and 1629 during his second trip to Spain. It is now in the Museo del Prado in Madrid.
George Villiers, 1st Duke of Buckingham commissioned works of art to enhance his personal image, as a means to aid his political career and advancement at court.
