Pseudo-Jan van Kessel the Younger or Pseudo-Jan van Kessel the (II) is the notname given to an artist or workshop to whom or which are attributed about 200 small still lifes likely dating to the late 16th and early 17th century. The artist's works rely on combinations of a limited number of motifs in rather simple to quite elaborate compositions. The motifs in the paintings are rendered in a rather naive and decorative manner. [1] While the Flemish influence in the works hints at a Flemish artist or an artist who trained with a Flemish artist, the artist is believed to have been active in southern Europe, probably Italy. [2]
None of the works attributed to Pseudo-Jan van Kessel the Younger are signed. Klaus Ertz and Christa Nitze-Ertz catalogued a large part of the oeuvre as the work of Jan van Kessel the Younger in their Die Maler Jan van Kessel : Jan van Kessel der Ältere 1626–1679 : Jan van Kessel der Jüngere 1654–1708 : Jan van Kessel der 'Andere' ca. 1620-ca. 1661: kritische Kataloge der Gemälde, Lingen : De Luca, 2012.
As Jan van Kessel the Younger's small known authentic oeuvre is different in style and execution and substantially higher in quality than the works so attributed were re-attributed by the Dutch at historian Fred G. Meijer to an anonymous artist or a workshop identified by the notname Pseudo Jan van Kessel the Younger. For the sake of convenience, the Netherlands Institute for Art History (RKD) catalogued paintings by Pseudo-Jan van Kessel II previously (until 2017) as 'studio of Jan van Kessel the Elder'. [1]
The artist is believed to have been working in southern Europe, likely Italy, during the late 16th and early 17th century. [2] The themes and style of the works suggest that the artist was Flemish or of Flemish descent or was trained in the Flemish style. [1]
The artist should be distinguished from the artist referred to as Pseudo van Kessel, who painted subjects that resemble those of Jan van Kessel the Elder, particularly in the color palette, and in whose work the influence of Osias Beert and Jacob van Es is obvious. This Pseudo van Kessel was possibly a Flemish artist by the name of Raffo Morghen or the German painter Gorthard de Wedig (Cologne 1583–1641). [3]
The works attributed to Pseudo-Jan van Kessel the Younger often occur in pairs and occasionally in larger sets. They are typically small in size and mostly painted on unmarked copper, occasionally on walnut panels, while one is executed on slate. The copper supports, as well as the fact that several of the works have an Italian provenance, suggest that these works were painted in Southern Europe, probably in Italy. [1]
Pseudo-Jan van Kessel the Younger occasionally borrowed motifs from Flemish examples, but only in one instance (a pair of gurnards) from Jan van Kessel the Elder, with whose oeuvre there is no further direct relationship. The variety in quality of execution and their apparent mass production suggest that these still lifes were the product of a studio, rather than of one individual artist. [1]
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Jan van den Hecke or Jan van den Hecke the Elder (1620–1684) was a Flemish Baroque painter, draughtsman, printmaker and engraver, mainly known for his still lifes, landscapes and battle scenes. After training in Antwerp, he spent time in Rome, where he had important patrons. After his return to Flanders, he worked for a while in Brussels, probably painting flower still lifes for Archduke Leopold Wilhelm of Austria, the Austrian governor of the Spanish Netherlands, before returning to work in Antwerp.
Joris van Son or Georg van Son was a Flemish still life painter who worked in a number of sub-genres but is principally known for his still lifes of fruit. He also painted flowers, banquets, vanitas still lifes and pronkstillevens. He is known to have painted fish still lifes representing the Four Elements, and also collaborated with figure artists on 'garland paintings', which typically represent a devotional image framed by a fruit or flower garland.
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David Rijckaert II was a Flemish painter and art dealer active in Antwerp. He contributed to the early development of still lifes as an independent genre through his delicate rendering of banquets and sumptuous tabletop still lifes.
Klaus Ertz is a German art historian specializing in the Brueghel family of artists and their workshop.
Jan van Kessel or the other Jan van Kessel was a Flemish painter of still lifes of fruits, hunting pieces and flowers. After training in Antwerp he moved to the Dutch Republic where he is recorded as operating a studio in Amsterdam.
The Pseudo-Simons is the notname given to a painter presumed to have been active in Antwerp in the second half of the 17th century and the attributed author of 100 works, principally of fruit and flower still-lifes and pronkstillevens.
The Master of the Von Groote Adoration is a notname given to an artist or a number of artists or various workshops active in Antwerp sometime between 1500 and 1520. Whereas there are significant variations in the style of the works attributed to the master, the repetitions of certain subjects played an important role in the composition of the oeuvre. The master is considered a representative of the group of Antwerp mannerists who created works in an extravagant style in the early sixteenth century.