 |
| Matthias Stom The Annunciation ca. 1635-40 oil on canvas Galleria degli Uffizi, Florence |
 |
| Matthias Stom The Annunciation (detail) ca. 1635-40 oil on canvas Galleria degli Uffizi, Florence |
 |
| Matthias Stom Esau selling his Birthright ca. 1630 oil on canvas Gemäldegalerie, Berlin |
 |
| Matthias Stom Sarah bringing Hagar to Abraham ca. 1630 oil on canvas Gemäldegalerie, Berlin |
 |
| Matthias Stom Sacrifice of Isaac ca. 1630-40 oil on canvas Musée Fesch, Ajaccio, Corsica |
 |
| Matthias Stom Agony in the Garden ca. 1630 oil on canvas Gemäldegalerie, Berlin |
 |
| Matthias Stom Christ before the High Priest ca. 1633 oil on canvas Milwaukee Art Museum |
 |
| Matthias Stom Christ before the High Priest (detail) ca. 1633 oil on canvas Milwaukee Art Museum |
 |
| Matthias Stom Christ before the High Priest (detail) ca. 1633 oil on canvas Milwaukee Art Museum |
 |
| Matthias Stom Christ at the Column ca. 1635 oil on canvas Rhode Island School of Design Museum, Providence |
 |
| Matthias Stom Christ crowned with Thorns ca. 1633-39 oil on canvas Norton Simon Museum, Pasadena |
 |
| Matthias Stom St Peter liberated from Prison by an Angel ca. 1640 oil on canvas Pinacoteca della città Metropolitana di Bari |
 |
| Matthias Stom St Peter liberated from Prison by an Angel (detail) ca. 1640 oil on canvas Pinacoteca della città Metropolitana di Bari |
 |
| Matthias Stom King David ca. 1633-39 oil on canvas Musée des Beaux-Arts de Marseilles |
 |
| Matthias Stom St Ambrose ca. 1633-39 oil on canvas Musée des Beaux-Arts de Rennes |
"The earliest known reference to Stom (wrongly called Stomer in modern literature) dates from 1630, when he was living in the same house in Rome that the Utrecht painter Paulus Bor occupied about five years earlier. About 1632 Stom went to Naples, and in the 1640s he was active in Palermo and elsewhere in Sicily. Antonio Ruffo, the nobleman in Messina for whom Rembrandt painted Aristotle with the Bust of Homer in 1653, purchased three works by Stom between 1646 and 1649. Both the name Stom and the usual description of him as "fiamingo" indicate that he was Flemish, not Dutch. He specialized in exaggerated Caravaggesque effects of light and shadow, with leathery surfaces suited to his frequent representation of elderly characters."
– from curator's notes at the Metropolitan Museum of Art, New York