Isabella Francken (d. after 1631) was a Flemish painter who was active in the first part of the 17th century. [1] She was a member of the large Francken family of artists. Only a few works are currently attributed to her. These are history, landscape, and genre paintings, which are in the style representative of the Francken family workshop. [1]
Isabella Francken | |
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 A Gathering of Witches, Isabella Francken | |
| Nationality | Flemish |
| Occupation | Painter |
| Parent |
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Very little is known about the life and training of Isabella Francken. She was the daughter of Hieronymus Francken I. [2] Her father had been a pupil of Frans Floris and had settled in France in 1578. [3] [4]
Isabella Francken was primarily active between 1600-1614 in Paris. [5]
Only two works are currently attributed to Isabella Francken: The Road to Calvary (Sold at Bonhams on 8 July 2009 in London, lot 76) and A Gathering of Witches (Sold at Dorotheum on 2 October 2002 in Vienna, lot 360). [6] Both works are oil on copper paintings.
The Road to Calvary is similar to two groups of paintings by her cousin Frans Francken II of the same subject, which are generally dated either to the first decade of the seventeenth century or to circa 1618. [2] The composition depicts the meeting between Christ carrying the cross and Saint Veronica who has a cloth to wipe Christ's face. It is signed and dated lower left: I. FRANCK.F / 1631. [7]
A Gathering of Witches depicts a group of witches in an interior space. It is extremely similar to the compositions of the same subject by her cousins Frans Francken II and Hieronymous Francken II. [2]
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Jan Brueghelthe Elder was a Flemish painter and draughtsman. He was the son of the eminent Flemish Renaissance painter Pieter Bruegel the Elder. A close friend and frequent collaborator with Peter Paul Rubens, the two artists were the leading Flemish painters in the first three decades of the 17th century.
The Francken family was a family of artists the members of which were mainly active in Antwerp in the 16th and 17th centuries. Many of the members over three generations had the same first names Frans, Hieronymus and Ambrosius. While this may at the time have been effective as a marketing method by ensuring continuity of the family business, today's legacy is some confusion in the attribution of paintings, which often do not differ widely in style or execution between the various family members. The confusion is exacerbated by the signing practices of some family members: when Frans I's son Frans II reached his majority and began to sign paintings, Frans I started to add "the elder" to his signature to distinguish himself from his son, who then signed his works as "the younger". This happened again in the next generation when Frans II's son Frans III reached his majority. Frans II then started to sign his works with the elder, while Frans III used Frans the younger.
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Hieronymus Francken the Younger or Hieronymus II was a Flemish painter and one of the most prominent members of the large Francken family of artists. Along with his brother Frans Francken II he played an important role in the development of new genres in Flemish art in the early 17th century. He was a prolific artist with a wide range who painted religious scenes, allegorical subjects, portraits, fruit pieces, genre scenes, architectural paintings and art galleries.
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The Sciences and the Arts is a 17th-century painting which is part of the collection of the Museo de Prado in Madrid. It has traditionally been attributed to Adriaen van Stalbemt, but more recently some art historians have re-attributed the work to Hieronymus Francken the Younger.
