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| Hans von Aachen The Judgment of Paris 1590 oil on canvas Birmingham Museum of Art, Alabama |
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| Hans von Aachen Pallas Athena, Venus (with Golden Apple) and Juno 1593 oil on canvas Museum of Fine Arts, Boston |
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| Hans von Aachen The Three Graces ca. 1604 oil on copper Herzog Anton Ulrich Museum, Braunschweig |
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| Hans von Aachen Tarquin and Lucretia ca. 1600 oil on canvas Kunsthistorisches Museum, Vienna |
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| Hans von Aachen Jupiter, Antiope and Cupid ca. 1595-98 oil on copper Kunsthistorisches Museum, Vienna |
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| Hans von Aachen The Amazement of the Gods (Jupiter aloft, embracing his daughter Minerva) ca. 1590-1600 oil on copper National Gallery, London |
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| Hans von Aachen The Triumph of Truth ca. 1598 oil on copper Detroit Institute of Arts |
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| Hans von Aachen Bacchus, Ceres and Cupid ca. 1595-1605 oil on canvas Kunsthistorisches Museum, Vienna |
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| Hans von Aachen Bacchus, Venus and Cupid ca. 1595-1600 oil on canvas Kunsthistorisches Museum, Vienna |
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| Hans von Aachen Venus and Adonis ca. 1574-88 oil on canvas Harvard Art Museums |
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| Hans von Aachen Couple with a Mirror before 1615 oil on copper Kunsthistorisches Museum, Vienna |
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| Hans von Aachen The Procuress ca. 1605-1610 oil on panel Kunsthistorisches Museum, Vienna |
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| Hans von Aachen Two Laughing Men (Self Portrait) ca. 1574 oil on panel Olomouc Museum of Art, Kroměříž, Czech Republic |
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| Hans von Aachen Perseus and Andromeda ca. 1600-1610 oil on alabaster Kunsthistorisches Museum, Vienna |
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| Hans von Aachen Liberation of Andromeda ca. 1600-1610 oil on alabaster Kunsthistorisches Museum, Vienna |
Hans von Aachen (1552-1615) – German painter from Cologne; trained in the Netherlands. While working in Florence, he recommended himself to the Emperor Rudolf II in Prague by sending him a portrait of the sculptor Giovanni Bologna. In 1597 he became official portraitist to Rudolf. On Rudolf's death in 1612 he remained in the service of the Emperor Matthias. He is now chiefly remembered for his religious, mythological and allegorical works, in a sophisticated Mannerist style akin to [Bartholomeus] Spranger's, and, through prints, nearly as influential.
– Erika Langmuir and Norbert Lynton, The Yale Dictionary of Art and Artists (2000)