Frans Floris, Frans Floris the Elder or Frans Floris de Vriendt was a Flemish painter, draughtsman, print artist and tapestry designer. He is mainly known for his history paintings, allegorical scenes and portraits. He played an important role in the movement in Northern Renaissance painting referred to as Romanism. The Romanists had typically travelled to Italy to study the works of leading Italian High Renaissance artists such as Michelangelo, Raphael and their followers. Their art assimilated these Italian influences into the Northern painting tradition.
Michiel Coxie the Elder, Michiel Coxcie the Elder or Michiel van Coxcie, Latinised name Coxius, was a Flemish painter of altarpieces and portraits, a draughtsman and a designer of stained-glass windows, tapestries and prints. He worked for patrons in the principal cities of Flanders. He became the court painter to successively Emperor Charles V and King Philip II of Spain.
Jan Frans van Bloemen was a Flemish landscape painter mainly active in Rome. Here he was able to establish himself as the leading painter of views (vedute) of the Roman countryside depicted in the aesthetic of the classical landscape tradition.
Chrispijn van den Broeck was a Flemish painter, draughtsman, print designer and designer of temporary decorations. He was a scion of a family of artists, which had its origins in Mechelen and later moved to Antwerp. He is known for his religious compositions and portraits as well as his extensive output of designs for prints. He was active in Antwerp which he left for some time because of the prosecution of persons adhering to his religious convictions.
Cornelis Floris or Cornelis (II) Floris De Vriendt was a Flemish sculptor, architect, draughtsman, medallist and designer of prints and luxury. He operated a large workshop in Antwerp from which he worked on many large construction projects in Flanders, Germany and Denmark. He was one of the designers of the Antwerp City Hall. He developed a new style, which was informed by Flemish traditions, the 16th century Italian renaissance and possibly the School of Fontainebleau. His innovations spread throughout Northern Europe where they had a major influence on the development of sculpture and architecture in the 16th and early 17th centuries.
Dutch and Flemish Renaissance painting represents the 16th-century response to Italian Renaissance art in the Low Countries. These artists, who span from the Antwerp Mannerists and Hieronymus Bosch at the start of the 16th century to the late Northern Mannerists such as Hendrik Goltzius and Joachim Wtewael at the end, drew on both the recent innovations of Italian painting and the local traditions of the Early Netherlandish artists. Antwerp was the most important artistic centre in the region. Many artists worked for European courts, including Bosch, whose fantastic painted images left a long legacy. Jan Mabuse, Maarten van Heemskerck and Frans Floris were all instrumental in adopting Italian models and incorporating them into their own artistic language. Pieter Brueghel the Elder, with Bosch the only artist from the period to remain widely familiar, may seem atypical, but in fact his many innovations drew on the fertile artistic scene in Antwerp.
Frans Pourbus the Elder was a Flemish Renaissance painter who is known primarily for his portraits and religious compositions, as well as a few genre scenes. He was the son of the prominent Bruges painter and cartographer Pieter Pourbus and the father of Frans Pourbus the Younger who became an international portraitist of the European ruling class.
Cornelis de Wael was a Flemish painter, engraver and merchant who was primarily active in Genoa in Italy. He is known for his genre paintings, battle scenes, history paintings and still lifes. Through his art work, support for Flemish painters working in Italy and role as an art dealer, he played an important role in the artistic exchange between Italy and Flanders in the first half of the 17th century. His work also had an influence on local painters such as Alessandro Magnasco, particularly through his scenes of despair and irony.
Pieter van Bloemen, also known as Standaart, first name also spelled Peter or Peeter, was a Flemish painter. He was a gifted landscape and animal painter and was very successful with his compositions depicting equestrian, animal and market scenes.
The Antwerp School was a school of artists active in Antwerp, first during the 16th century when the city was the economic center of the Low Countries, and then during the 17th century when it became the artistic stronghold of the Flemish Baroque under Peter Paul Rubens.
Jacob de Backer was a Flemish Mannerist painter and draughtsman active in Antwerp between about 1571 and 1585. Even though he died young at the age of 30, the artist was very prolific and an extensive body of work has been attributed to him. Art historians are not agreed on how many of these works are autograph or the product of a workshop. The works attributed to the artist or his workshop are executed in a late-Mannerist style clearly influenced by Italian models.
Maerten de Vos, Maerten de Vos the Elder or Marten de Vos was a Flemish painter. He is known mainly for his history and allegorical paintings and portraits. He was, together with the brothers Ambrosius Francken I and Frans Francken I, one of the leading history painters in the Spanish Netherlands after Frans Floris career slumped in the second half of the sixteenth century as a result of the Iconoclastic fury of the Beeldenstorm.
Hendrick van den Broeck or Arrigo Fiammingo was a Flemish painter, fresco painter, glass painter and sculptor of the late-Renaissance or Mannerist period. After training in Flanders, he travelled to Italy where he remained active in various cities for the remainder of his life. He was court painter to Cosimo I de Medici in Florence and worked as a fresco painter in Rome on the large decorative projects of pope Gregory XIII.
Erasmus Quellinus the Younger or Erasmus Quellinus II (1607–1678) was a Flemish painter, engraver, draughtsman and tapestry designer who worked in various genres including history, portrait, allegorical, battle and animal paintings. He was a pupil of Peter Paul Rubens and one of the closest collaborators of Rubens in the 1630s. Following Rubens' death in 1640 he became one of the most successful painters in Flanders. He was a prolific draughtsman who made designs for decorative programmes in the context of official celebrations, for publications by the local publishers and for tapestries and sculptures realised by the local workshops. His work reveals the Classicist trend in the Baroque.
Flemish Baroque painting was a style of painting in the Southern Netherlands during Spanish control in the 16th and 17th centuries. The period roughly begins when the Dutch Republic was split from the Habsburg Spain regions to the south with the Spanish recapturing of Antwerp in 1585 and goes until about 1700, when Spanish Habsburg authority ended with the death of King Charles II. Antwerp, home to the prominent artists Peter Paul Rubens, Anthony van Dyck, and Jacob Jordaens, was the artistic nexus, while other notable cities include Brussels and Ghent.
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.
Marten van Cleve the Elder was a Flemish painter and draftsman active in Antwerp between 1551 and 1581. Van Cleve is mainly known for his genre scenes with peasants and landscapes, which show a certain resemblance with the work of Pieter Bruegel the Elder. Marten van Cleve was one of the leading Flemish artists of his generation. His subjects and compositions were an important influence on the work of Pieter Brueghel the Younger and other genre painters of his generation.
Sir Peter Paul Rubens was a Flemish artist and diplomat from the Duchy of Brabant in the Southern Netherlands. 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 emphasized 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.
Hieronymus Francken I or Hieronymus Francken the Elder was a Flemish painter and an important member of the Francken family of artists. After training in Antwerp, he was mainly active in France, where he became court painter at the French court. His compositions with elegant groups of dancing figures, musicians and courtiers anticipate the development of this genre in the 17th century.
The Fall of the Rebel Angels is an oil on panel painting by Flemish painter Frans Floris. The painting was the central panel of a triptych. The side panels, however, were lost during the iconoclastic fury in the summer of 1566. The scene represented in the painting stems from Chapter 12 of the Book of Revelation. It is one of Floris' most renowned works, often credited as his most famous painting. Floris painted it for the fencer's guild of Antwerp, one of the city's militias, responsible for public security. The altarpiece hung in the Cathedral of Our Lady in Antwerp, above the guild's altar. Like every other guild or corporation, the fencers had a patron saint, in this case, the Archangel Michael, who leads God's angels against the rebels in the painting.
