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| Jan Janssens Annunciation ca. 1620-50 oil on canvas Musée des Beaux-Arts, Ghent |
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| Jan Janssens Crowning with Thorns ca. 1620-50 oil on canvas Musée des Beaux-Arts, Ghent |
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| Jan Janssens Crowning with Thorns ca. 1647-50 oil on canvas Musée des Augustins de Toulouse |
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| Jan Janssens Resurrection ca. 1620-25 oil on canvas private collection |
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| Jan Janssens Man of Sorrows ca. 1620-50 oil on canvas Groeningemuseum, Bruges |
"Born in Ghent in 1590, Jan Janssens appears to have been in Rome during the decade from 1610 to 1620. He was later active in Ghent. Only a few of his paintings are still extant, chief among these is the signed Annunciation in the Musée des Beaux-Arts in Ghent, with its remarkable, deliberate angularity of line and its almost shocking brightness. The strong Caravaggesque character in this vulgarized but yet very effective painting expresses itself at first glance, though Janssens appears to have encountered the style of Caravaggio only indirectly, through the medium of Dutch imitators such as Dirck van Baburen and Hendrick ter Brugghen. In Ghent there is also a Crowning with Thorns by Janssens that is very similar to his Annunciation in respect to the geometric linearity and the similarly melodramatic action and facial expressions. Quite similar in composition, though expanding upon the scheme is the Crowning with Thorns in the museum in Toulouse. The later activities of Janssens in Ghent are of less importance; he remained active until almost mid-century without having achieved claim to more than local interest."
– Hermann Voss, from Baroque Painting in Rome (1925), revised and translated by Thomas Pelzel (San Francisco: Alan Wofsy, 1997)
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| Louis Finson Self-portrait 1613 oil on canvas Musée des Beaux-Arts de Marseilles |
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| Louis Finson Judith and Holofernes ca. 1607 oil on canvas Banco Commerciale Italiana, Naples |
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| attributed to Louis Finson Christ at the Column before 1617 oil on canvas Palais des Beaux-Arts de Lille |
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| Louis Finson St Sebastian 1613 oil on canvas private collection |
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| Louis Finson The Four Elements 1611 oil on canvas Museum of Fine Arts, Houston |
"Louis Finson was born in Bruges in 1580 and was then in Rome, probably soon after 1600. He is documented in Naples in 1612, but even before this he was in Aix-en-Provence, where he seems to have returned at the end of 1612. He appears to have been rather extensively active in Provence until about 1616 and returned to the Netherlands shortly before his death in Amsterdam in 1617. Due to his heavy, pasty coloration, his blunt and mannered modeling and wooden draftsmanship, as well as his spiritless and exaggerated characterization, Finson ranks below the level of the leading followers of Caravaggio. He is nonetheless of some historical importance as a pioneer of Caravaggism in southern France; it also bears mentioning that he remained true to the tradition of monumental religious painting even after he left Italy."
– Hermann Voss, from Baroque Painting in Rome (1925), revised and translated by Thomas Pelzel (San Francisco: Alan Wofsy, 1997)
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| Wouter Crabeth the Younger Doubting Thomas ca. 1626-30 oil on canvas Rijksmuseum, Amsterdam |
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| Wouter Crabeth the Younger Card Players ca. 1625-45 oil on canvas National Museum, Warsaw |
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| Wouter Crabeth the Younger Musical Gathering ca. 1620-30 oil on canvas private collection |
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| attributed to Wouter Crabeth the Younger Good Samaritan carrying the Wounded Man on his Horse ca. 1626-30 drawing British Museum |
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| attributed to Wouter Crabeth the Younger Good Samaritan paying the Innkeeper ca. 1626-30 drawing British Museum |
"Wouter Pietersz Crabeth the Younger was born in Gouda around 1594, grandson of a well-reputed glass-maker of the same name. He undertook his training in France and Italy. In Rome he joined the circle of Netherlandish painters known as "The Bent" where he went under the nickname of "Almanak" but he seems not to have appeared frequently in public. Only after thirteen years did he return to Gouda, where he remained productive until 1644. The point of departure for evaluating his artistic importance is his Doubting Thomas, now in the Rijksmuseum in Amsterdam, painted after he left Rome, but still stylistically very close to the circle of Caravaggio. In comparison with Gerrit von Honthorst or Dirck van Baburen, Crabeth's style tends to be heavy, brooding and even ponderous, though not without a certain sense of monumentality. The list of paintings that may be assigned to him with certainty is very brief."
– Hermann Voss, from Baroque Painting in Rome (1925), revised and translated by Thomas Pelzel (San Francisco: Alan Wofsy, 1997)