van der Baren / van den Hecke / van Es

Jan Anthonie van der Baren
Roses in a Glass Vase
ca. 1659
oil on vellum
Kunsthistorisches Museum, Vienna

Jan Anthonie van der Baren
Still Life with Pumpkins and Gourds
1657
oil on canvas
Kunsthistorisches Museum, Vienna

Jan Anthonie van der Baren
Exposition of the Host with Garland of Flowers
ca. 1635-59
oil on canvas
Kunsthistorisches Museum, Vienna

 

Jan van den Hecke the Elder and Jan Lievens
Portrait of a Young Man within a Flower Garland
ca. 1642-44
oil on panel
Kunsthistorisches Museum, Vienna

attributed to Jan van den Hecke the Elder 
Flowers in a Glass Vase on a Wooden Ledge
before 1684
oil on canvas
private collection

Jan van den Hecke the Elder 
and Erasmus Quellinus the Younger
Allegory of the Sense of Hearing
1650
oil on canvas
Villa Vauban, Ville de Luxembourg

Jan van den Hecke the Elder 
Flowers in a Glass Vase
with the Siege of Gravelingen
ca. 1652
oil on canvas
Kunsthistorisches Museum, Vienna

Jan van den Hecke the Elder 
Flowers in a Wicker Basket
ca. 1650-55
oil on canvas
Kunsthistorisches Museum, Vienna

Jacob Fopsen van Es
Vase of Flowers with Cherries on a Ledge
before 1666
oil on panel
Landesmuseum, Hannover

Jacob Fopsen van Es
Roses and an Iris in a Jug
ca. 1630-40
oil on panel
Fondation Custodia, Paris

Jacob Fopsen van Es
Still Life with Basket of Fruit and Squirrel
ca. 1630-50
oil on panel
private collection

Jacob Fopsen van Es
Basket of Grapes and Raspberries on a Ledge
ca. 1630-50
oil on panel
private collection

Jacob Fopsen van Es
Still Life with Oysters
before 1666
oil on panel
Ashmolean Museum, Oxford

Jacob Fopsen van Es
Still Life with Oysters
before 1666
oil on panel
private collection

Jacob Fopsen van Es
Still Life with Pitcher
before 1666
oil on canvas
Musée des Beaux-Arts de Valenciennes

Three Flemish fruit-and-flower painters working for the most part without patrons or specific commissions, instead trusting to their grasp of the taste of the busy Europe-wide bourgeois art market of the middle seventeenth century.  

Jan Philip van Thielen (Flemish Flowers)

Jan Philip van Thielen
Garland of Flowers
before 1667
oil on panel
private collection

Jan Philip van Thielen
Flowers in a Glass Vase
ca. 1650-60
oil on panel
National Gallery of Art, Washington DC

Jan Philip van Thielen
Garland surrounding Cartouche
with a Bust of Flora
1665
oil on canvas
Rijksmuseum, Amsterdam

Jan Philip van Thielen
Vase of Flowers
1660
oil on panel
Fitzwilliam Museum, Cambridge

Jan Philip van Thielen
Garland surrounding Portrait of a Girl
ca. 1645
oil on canvas
National Museum, Lublin, Poland

Jan Philip van Thielen
Garland surrounding Vignette
with Venus and Adonis
1653
oil on canvas
private collection

Jan Philip van Thielen
Garland surrounding Vignette
with Venus and Cupid
1648
oil on canvas
private collection

Jan Philip van Thielen
Vase of Flowers with Butterflies
ca. 1645
oil on panel
Honolulu Museum of Art

Jan Philip van Thielen
and Erasmus Quellinus the Younger
Garland surrounding Cartouche
with the Virgin and Child
1648
oil on canvas
Kunsthistorisches Museum, Vienna

Jan Philip van Thielen
and Erasmus Quellinus the Younger
Garland surrounding Cartouche
with the Virgin and Child
1651
oil on copper
Chrysler Museum of Art, Norfolk, Virginia

Jan Philip van Thielen
Flowers in a Glass Vase
before 1667
oil on panel
Musée Magnin, Dijon

Jan Philip van Thielen
Flowers in a Glass Vase
ca. 1650-60
oil on panel
private collection

attributed to Jan Philip van Thielen
Vase of Flowers
before 1667
oil on panel
Fitzwilliam Museum, Cambridge

follower of Jan Philip van Thielen
Still Life with Flowers and Watch
ca. 1660
oil on panel
Ashmolean Museum, Oxford

"The son of the nobleman Librecht van Thielen, Lord of Couwenberg, and Anna Rigouldts, Jan Philip van Thielen was baptized in the Church of San Rombaut in Mechelen on 1 April 1618.  . . .  In 1631/32 the register of the Antwerp Saint Luke's Guild describes Van Thielen as a pupil of his future brother-in-law, the history painter Theodoor Rombouts.  Van Thielen's career as a flower painter seems to have begun when Daniel Seghers accepted him as a student, which must have occurred shortly before he [Van Thielen] became a master in Saint Luke's Guild in 1641/42.  Van Thielen's depictions of bouquets, garlands, and festoons consistently resemble those of Seghers.  Also like Seghers, the younger artist regularly collaborated with other Antwerp painters, typically creating garlands to surround their vignettes or cartouches."   

– from the biographical sketch at the National Gallery of Art, Washington DC

Abraham Mignon (from Frankfurt to Utrecht)

Abraham Mignon
Festoon of Flowers and Fruit
ca. 1665-79
oil on canvas
Gemäldegalerie Alte Meister, Dresden

Abraham Mignon
Festoon of Flowers and Fruit
ca. 1670
oil on panel
private collection

Abraham Mignon
Festoon of Flowers
ca. 1665-70
oil on panel
National Gallery of Art, Washington DC

Abraham Mignon
Garland of Flowers surrounding
Young Woman in Classical Dress
ca. 1675
oil on canvas
Museo de Bellas Artes de Bilbao

Abraham Mignon
Flowers in a Glass Vase
ca. 1670
oil on canvas
Mauritshuis, The Hague

Abraham Mignon
Flowers in a Metal Vase
ca. 1670
oil on canvas
Mauritshuis, The Hague

Abraham Mignon
Interior with Still Life
ca. 1660-79
oil on canvas
Ashmolean Museum, Oxford

Abraham Mignon
Still Life with Fruit
1669
oil on canvas
Minneapolis Institute of Art

Abraham Mignon
Still Life with Fruit and Brace of Songbirds
before 1679
oil on canvas
private collection

Abraham Mignon
Still Life with Fruit, Fish and a Nest
ca. 1675
oil on canvas
National Gallery of Art, Washington DC

Abraham Mignon
Still Life with Fruit, Oysters and Porcelain Bowl
ca. 1660-79
oil on panel
Rijksmuseum, Amsterdam

Abraham Mignon
Still Life with Flowers and a Watch
ca. 1660-79
oil on canvas
Rijksmuseum, Amsterdam

Abraham Mignon
Flower Piece
ca. 1670
oil on canvas
Fitzwilliam Museum, Cambridge

Abraham Mignon
Flowers in a Glass Vase
before 1679
oil on canvas
Museum Boijmans Van Beuningen, Rotterdam

Abraham Mignon and Jan Davidsz de Heem
Still Life with Fruit in a Niche
ca. 1670-79
oil on panel
private collection

"Born in Frankfurt, Abraham Mignon (1640-79) was originally apprenticed at the age of nine to the artist Jacob Marrell, who took his pupil with him when he moved from Germany to the Netherlands in 1664.  From 1669 both artists are recorded as members of Utrecht's St Luke's Guild.  Here Mignon studied under the still-life specialist Jan Davidsz de Heem and worked as his assistant until 1672.  Mignon's paintings of flowers and fruit feature the same opulent style of composition and the same brilliant colours as De Heem's work.  Mignon's paintings were popular at court, the Elector of Saxony and the French king Louis XIV both bought work by Mignon.  Abraham Mignon continued to live in Utrecht until his death (at age 39) in 1679."

– from the biographical sketch at the Rijksmuseum, Amsterdam

Giovanni Battista and Giovanni Mauro della Rovere (Brothers)

Giovanni Mauro della Rovere
Flying Angel
before 1640
drawing
Metropolitan Museum of Art, New York

Giovanni Mauro della Rovere
Draped Prophet
before 1640
drawing
British Museum

Giovanni Mauro della Rovere
King kneeling before three Franciscan Monks
before 1640
drawing
British Museum

Giovanni Mauro della Rovere
Deacon led to Martyrdom
before 1640
drawing
Metropolitan Museum of Art, New York

Giovanni Mauro della Rovere
Virgin and Child with St Dominic distributing Chaplets to the Faithful
before 1640
drawing
Metropolitan Museum of Art, New York

Giovanni Mauro della Rovere
The Last Supper
ca. 1626
drawing
British Museum

Giovanni Mauro della Rovere
The Last Supper
1626
detached fresco
(from demolished monastery)
Museo della Scienza e della Tecnica, Milan

Giovanni Battista and Giovanni Mauro della Rovere
Pope Alexander IV charters the Augustinian Order
ca. 1610
fresco
Chiesa di San Marco, Milan

Giovanni Battista and Giovanni Mauro della Rover
Pope Alexander IV charters the Augustinian Order (detail)
ca. 1610
fresco
Chiesa di San Marco, Milan

The brothers Giovanni Mauro della Rovere (ca. 1575-ca. 1640) and Giovanni Battista della Rovere (ca. 1561-ca. 1630) worked both independently and collaboratively as fresco painters in Milan, where they were known collectively as I Fiammenghini.  Directly above are two views of the ruin of a fresco they painted together in Milan's Church of San Marco around 1610.  The 13th-century Pope Alexander IV was represented on his throne under a colonnade issuing the charter to create the Augustinian Order.  An oversized unclothed mendicant at the bottom of the composition, far from the main action, served as a pretext for the brothers to paint a heroic Mannerist figure in tribute to Michelangelo.  But half of this fresco was intentionally destroyed in the 1950s to uncover a partially-preserved 14th-century Crucifixion scene, over the top of which I Fiammenghini had been assigned to create their work.  The resulting mishmash inflicts a kind of postmodern irony on both paintings.  Yet at the time when this damage was done, there was still near-universal agreement that the art of the early Renaissance (represented by the concealed Crucifixion) was of incomparably greater importance than anything produced by Late Mannerism. 

Giovanni Battista della Rovere
Design for Altar Wall of a Chapel
1607
drawing
British Museum

Giovanni Battista della Rovere
Doubting Thomas
1593
drawing
Morgan Library, New York

Giovanni Battista della Rovere
Study for Angels in Pendentives
before 1630
drawing
Minneapolis Institute of Art

Giovanni Battista della Rovere
St Mark with a Doctor of the Church in Lunette
1599
drawing
Princeton University Art Museum

Giovanni Battista della Rovere
The Last Judgment
before 1630
drawing
National Gallery of Art, Washington DC

Giovanni Battista della Rovere
Massacre of the Innocents
ca. 1590
drawing-
Metropolitan Museum of Art, New York