View source for Flemish Baroque painting

{{short description|Painting movement}}
[[File:Peter Paul Rubens - De kruisoprichting.JPG|thumb|right|Peter Paul Rubens, ''The Raising of the Cross'', {{circa|1610–1611}}]]

'''Flemish Baroque painting''' was a style of painting in the [[Southern Netherlands]] during Spanish control in the [[16th century|16th]] and [[17th century|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 [[Charles II of Spain|King Charles II]].<ref name="vlieghe1">Vleighe, p. 1.</ref> 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]].<ref name="vlieghe1" />

Rubens, in particular, had a strong influence on seventeenth-century visual culture. His innovations helped define Antwerp as one of Europe's major artistic cities, especially for [[Counter-Reformation]] imagery, and his student Van Dyck was instrumental in establishing new directions in English portraiture. Other developments in Flemish [[Baroque painting]] are similar to those found in [[Dutch Golden Age painting]],<ref name="vlieghe1" /> with artists specializing in such areas as [[history painting]], [[portrait painting|portraiture]], [[genre painting]], [[landscape painting]], and [[still life]].
{{History of Dutch and Flemish painting}}
{{Catholic Counter-Reformation|expanded documents}}

==General characteristics==
"Flemish", in the context of this and artistic periods such as the "Flemish Primitives" (in English now [[Early Netherlandish painting]]), often includes the regions not associated with modern [[Flanders]], including the [[Duchy of Brabant]] and the autonomous [[Prince-Bishopric of Liège]].<ref name="vlieghe1" /> By the seventeenth century, however, Antwerp was the main city for innovative artistic production, largely due to the presence of Rubens. Brussels was important as the location of the court, attracting [[David Teniers the Younger]] later in the century.

[[File:Beeldenstorm (Iconoclastic Fury) in Antwerpen 1566 Frans Hogenberg.jpg|thumb|left|Frans Hogenberg, the Calvinist [[beeldenstorm|Iconoclastic Riot of August 20, 1566]] when many paintings and church decorations were destroyed and subsequently replaced by Late [[Northern Mannerist]] and Baroque artists.]]

===Late Mannerism===
Although paintings produced at the end of the 16th century belong to general [[Northern Mannerist]] and Late [[Renaissance]] approaches that were common throughout Europe, artists such as [[Otto van Veen]], [[Adam van Noort]], [[Marten de Vos]], and the [[Francken]] family were particularly instrumental in setting the stage for the local Baroque. Between 1585 and the early 17th century they made many new [[altarpiece]]s to replace those destroyed during the [[Iconoclasm|iconoclastic]] [[beeldenstorm|outbreaks of 1566]]. Also during this time [[Frans Francken the Younger]] and [[Jan Brueghel the Elder]] became important for their small [[cabinet painting]]s, often depicting [[Mythology|mythological]] and history subjects.

==="The Age of Rubens"===
[[Peter Paul Rubens]] (1577–1640), a student of both Otto van Veen and Adam van Noort, spent eight years in Italy (1600–1608), during which time he studied examples of [[classical antiquity]], the [[Italian Renaissance]], and contemporaries [[Adam Elsheimer]] and [[Caravaggio]]. Following his return to Antwerp he set up an important studio, training students such as Anthony van Dyck, and generally exerting a strong influence on the direction of Flemish art. Most artists active in the city during the first half of the 17th century were directly influenced by Rubens.

[[File:Rubens - Prometheus Bound.jpg|thumb|upright|right|Peter Paul Rubens and Frans Snyders, ''Prometheus Bound'', 1611–12. Philadelphia Museum of Art. This painting is Flemish Baroque example of collaboration and specialization. Snyders, who specialized in animals, painted the eagle while Rubens painted the figure of Prometheus.]]

===Specializations and collaborations===
Flemish art is notable for the large amount of collaboration that took place between independent masters, which was partly related to the local tendency to specialize in a particular area. [[Frans Snyders]], for example, was an animal painter and Jan Brueghel the Elder was admired for his landscapes and paintings of plants. Both artists worked with Rubens, who often usually painted the figures, and other artists to create collaborative pieces.

[[File:Frans Francken d. J. 009.jpg|thumb|left|Frans Francken the Younger, ''Preziosenwand'' (''Wall of Treasures''), 1636. Kunsthistorischesmuseum, Vienna. This type of painting was one of the distinctly Flemish innovations that developed during the early 17th century.]]

===Innovations===
Flower [[still life]] painting, which developed around 1600 by artists such as Jan Brueghel the Elder, was partially a Flemish innovation,<ref name="vlieghe207">Vlieghe, pp. 207–212.</ref> echoed in the Dutch Republic in the works of the Antwerp-born [[Ambrosius Bosschaert]] (1573–1621).<ref>Slive, p. 279.</ref> In Antwerp, however, this new genre also developed into a specifically [[Catholic]] type of painting, the [[flower garland]]. Other types of paintings closely associated with Flemish Baroque include the monumental hunting scenes by Rubens and Snyders, and [[gallery paintings]] by artists such as [[Willem van Haecht]] and [[David Teniers the Younger]].

==History painting==
History painting, which includes biblical, mythological and historical subjects, was considered by seventeenth-century theoreticians as the most noble art. [[Abraham Janssens]] was an important history painter in Antwerp between 1600 and 1620, although after 1609 Rubens was the leading figure. Both Van Dyck and [[Jacob Jordaens]] were active painting monumental history scenes. Following Rubens's death, Jordaens became the most important Flemish painter. Other notable artists working in the idiom of Rubens include [[Gaspar de Crayer]], who was active in Brussels, [[Artus Wolffort]], [[Cornelis de Vos]], [[Jan Cossiers]], [[Theodoor van Thulden]], [[Abraham van Diepenbeeck]], and [[Jan Boeckhorst]]. During the second half of the century, history painters combined a local influence from Rubens with knowledge of [[classicism]] and Italian [[Baroque]] qualities. Artists in the vein include [[Erasmus Quellinus the Younger]], [[Jan van den Hoecke]], [[Pieter van Lint]], [[Cornelis Schut]], and [[Thomas Willeboirts Bosschaert]]. Later in the century, many painters turned to Anthony van Dyck as a major influence.<ref>Vlieghe, pp. 98–104.</ref> Among them were [[Pieter Thijs]], [[Lucas Franchoys the Younger]], and artists who were also inspired by Late Baroque theatricality such as [[Theodoor Boeyermans]] and [[Jan-Erasmus Quellinus]]. Additionally, a Flemish variant of ''[[Caravaggism]]'' was expressed by [[Theodoor Rombouts]] and [[Gerard Seghers]].

==Religious painting==
Rubens is closely associated with the development of the Baroque [[altarpiece]]. Painted for the Arquebusiers' [[guild]], the ''[[Descent from the Cross]]'' [[triptych]] (1611–14; [[Cathedral of Our Lady, Antwerp]])—with side wings depicting the ''[[Visitation (Christian)|Visitation]]'' and ''[[Presentation of Jesus at the Temple|Presentation in the Temple]]'', and exterior panels showing ''[[St. Christopher]] and the Hermit''—is an important reflection of Counter-Reformation ideas about art combined with Baroque naturalism, dynamism and monumentality.<ref>Belkin, pp. 113–121.</ref> [[Roger de Piles]] explains that "the painter has entered so fully into the expression of his subject that the sight of this work has the power to touch a hardened soul and cause it to experience the sufferings endured by Jesus Christ in order to redeem it."<ref>Martin, ''Baroque'', pp. 20–21.</ref>

[[File:Charles I of England.jpg|thumb|upright|right|Anthony van Dyck, ''Portrait of King Charles I'', 1635. Louvre, Paris.]]

==Portraiture==
Although not predominately a portrait painter, Rubens's contributions include early works such as his ''Portrait of Brigida Spinola-Doria'' (1606, [[National Gallery of Art]], [[Washington, D.C.]]), paintings of his wives (the ''[[Honeysuckle Bower]]'' and ''[[Het Pelsken]]''), and numerous portraits of friends and nobility. He also exerted a strong influence on Baroque portraiture through his student [[Anthony van Dyck]]. Van Dyck became court painter for [[Charles I of England]] and was influential on subsequent English portraiture. Other successful portraitists include [[Cornelis de Vos]] and [[Jacob Jordaens]]. Although most Flemish portraiture is life-sized or monumental, [[Gonzales Coques]] and [[Gillis van Tilborch]] specialized in small-scale group portraiture.
[[File:Adriaen Brouwer - The Bitter Potion - Google Art Project.jpg|thumb|upright|left|Adriaen Brouwer, ''The Bitter Drink'', {{circa|1630–1640}}. Brouwer's expressive peasants are typical of "low-life" genre painting.]]

==Genre painting==
[[Genre painting]]s, or scenes of everyday life, are common in the 17th century. Many artists follow the tradition of [[Pieter Bruegel the Elder]] in depicting "low-life" peasant themes, although elegant "high-life" subjects featuring fashionably-dressed couples at [[Ball (dance)|balls]] or in gardens of love are also common. [[Adriaen Brouwer]], whose small paintings often show peasants fighting and drinking, was particularly influential on subsequent artists. Images of woman performing household tasks, popularized in the northern Netherlands by [[Pieter de Hooch]] and [[Jan Vermeer]], is not a significant subject in the south, although artists such as [[Jan Siberechts]] explored these themes to some degree.

===Bruegel tradition===
Flemish genre painting is strongly tied to the traditions of [[Pieter Bruegel the Elder]] and was a style that continued directly into the 17th century through copies and new compositions made by his sons [[Pieter Brueghel the Younger]] and [[Jan Brueghel the Elder]]. Many of these are [[Kermesse (festival)|kermis]] paintings and scenes of peasants taking part in other outdoor enjoyments viewed from an elevated viewpoint. Artists in the Dutch Republic, such as the Flemish-born [[David Vinckboons]] and [[Roelandt Savery]], also made similar works, popularizing rustic scenes of everyday life closely associated with Dutch and Flemish painting.

===Adriaen Brouwer and his followers===
[[Adriaen Brouwer]] (1605 or 1606–1638) typically painted small scenes of ragged peasants fighting, gaming, drinking and generally expressing exaggerated and rude behaviour. Born in the Southern Netherlands, Brouwer spent the 1620s in [[Amsterdam]] and [[Haarlem]], where he came under the influence of [[Frans Hals|Frans]] and [[Dirk Hals]] and other artists working in a loose [[painterly]] manner. Upon his return to Antwerp around 1631 or 1632 he introduced a new, influential format in which the subjects were painted as interior, instead of exterior, scenes. He also painted expressive facial studies like ''The Bitter Drink'' (illustrated), a genre called [[tronie]]s ("faces"). Brouwer's art was recognized in his own lifetime and had a powerful impact on Flemish art. Rubens owned more works by him at the time of his death than any other painter, and artists such as [[David Teniers the Younger]], [[Jan van de Venne]], [[Joos van Craesbeeck]] and [[David Ryckaert III]] continued to work in a similar manner.

===Elegant company scenes===
Paintings of elegant couples in the latest fashions, often with underlying themes of love or the [[sense|five senses]], were commonly painted by [[Hieronymus Francken II|Hieronymus Francken the Younger]], [[Louis de Caullery]], [[Simon de Vos]], [[David Teniers the Younger]] and [[David Ryckaert III]]. Rubens's ''Garden of Love'' (''c''. 1634–5; [[Prado Museum]]) belongs to these traditions.

===Monumental genre scenes===
Whereas elegant company scenes and works by Brouwer and his followers were often small in scale, other artists looked to [[Caravaggio]] for inspiration and painted large-scale, theatrically inspired scenes in which musicians, cardplayers, and fortune tellers are pushed to the foreground of the composition. These paintings, like others by ''[[Caravaggism|Caravaggisti]]'', are generally illuminated by strong lighting effects. [[Adam de Coster]], [[Gerard Seghers]] and [[Theodoor Rombouts]] were the main exponents of this popular style in the early 17th century, which was popularized by Italian followers of Caravaggio like [[Bartolomeo Manfredi]] and [[Utrecht Caravaggisti]] like [[Gerrit van Honthorst]]. Rombouts was also influenced by his teacher [[Abraham Janssens]], who began incorporating Caravaggesque influences into his history paintings from first decade of the 17th century
.
[[File:Jakob Jordaens 001.jpg|thumb|left|Jacob Jordaens, ''The King Drinks''. Jordeans was well known for his large paintings of moralistic genre scenes, such as this depiction of an [[Epiphany (Christian)|Epiphany]] feast.]]

===Jacob Jordaens===
Jacob Jordaens, who became Antwerp's most important artist after Rubens's death in 1640, is well known for his monumental genre paintings of subjects such as ''The King Drinks'' and ''As the Old Sing, So Pipe the Young''. Many of these paintings use compositional and lighting influences similar to those of the ''Caravaggisti'', while the treatment of the subjects inspired Dutch artists like [[Jan Steen]].

===Battle scenes===
Another popular type of painting invented in the [[Low Countries]] was landscapes with historical and fictional battles, as well as skirmishes and robberies. [[Sebastiaen Vrancx]] and his pupil [[Peter Snayers]] specialized in this genre, and Snayer's student [[Adam-Frans van der Meulen]] continued painting them in Antwerp, Brussels and [[Paris]] until the end of the century.
[[File:Sweerts, Michael -1649- - Wrestling Match.jpg|thumb|right|Michael Sweerts, ''Wrestling Match'', 1649. Karlsruhe, Staatliche Kunsthalle. Sweerts's style is influenced by his time in Rome, and in this painting he combines a genre subject with classical poses and Italian coloring]]

===Bamboccianti===
Following a time-honoured tradition, many northern artists travelled to Italy in the 17th century. Flemish artists such as [[Jan Miel]] (1599–1664), [[Michael Sweerts]] (1618–1664), [[Anton Goubau]] (1616–1698) and [[Willem Reuter]] (c.1642–1681) went to Rome where they worked for a period of time.  Here they were influenced by the works of the [[Genre works|genre painters]] active in Rome referred to as the [[Bamboccianti]].  The Bamboccianti comprised mostly [[Netherlands|Dutch]] and [[Flemings|Flemish]] artists who had brought existing traditions of depicting peasant subjects from [[Dutch and Flemish Renaissance painting|sixteenth-century Netherlandish art]] with them to Italy,<ref name=lev>Levine, David A. (December 1988). "The Roman Limekilns of the Bamboccianti". The Art Bulletin. College Art Association. 70 (4), p. 570</ref> and generally created small [[cabinet painting]]s or [[etching]]s of the [[everyday life]] of the lower classes in Rome and its countryside.<ref name="haskell">Haskell, Francis (1993). "Chapter 8". Patrons and Painters: Art and Society in Baroque Italy. Yale University Press, pp. 132–134.</ref> The Dutch painter [[Pieter van Laer]] who was nicknamed  "Il Bamboccio" (meaning "ugly doll" or "puppet" in Italian) had started this type of genre painting in Rome.  In general, genre painting was not well-accepted in Italy, especially by official organizations such as the [[Academy of St. Luke]].  Many of the painters were also members of the [[Bentvueghels]], the society of mainly Flemish and Dutch artists working in Rome. It acted as a support network for Netherlandish artists in Rome who were in need but is better known for the "[[Bohemianism|bohemian]]" lifestyle of its members and drunken festivities.<ref>Levine, David A., "The Bentvueghels: 'Bande Académique"," in IL60: Essays Honoring Irving Lavin on his Sixtieth Birthday, ed. Marilyn Aronberg Lavin. New York: Italica Press, 1990, p. 216</ref>

==Landscape and seascape==

===Early landscape painting===
[[Gillis van Coninxloo]] was an innovative landscape painter in Antwerp in the late 16th century, who introduced a more natural view instead of the traditional [[world landscape]] popularized by earlier painters such as [[Joachim Patiner]]. He left a strong influence on northern landscape painting in general through his period in [[Amsterdam]] and as a founding member of the [[Frankenthal School]]. Forest and mountain landscapes were painted by [[Abraham Govaerts]], [[Alexander Keirincx]], [[Gijsbrecht Leytens]], [[Tobias Verhaecht]] and [[Joos de Momper]]. [[Paul Bril]] settled in Rome, where he specialized as a landscape painter decorating Roman villas and creating small [[cabinet painting]]s.
[[File:Peter Paul Rubens - A View of Het Steen in the Early Morning.jpg|thumb|left|Peter Paul Rubens, ''Landscape with view of 'Het Steen''', 1636]]

===Rubens and later painters===
[[Jan Wildens]] and [[Lucas van Uden]] painted natural landscapes inspired by Rubens, and frequently collaborated with figure painters or animal specialists to paint the backgrounds. Rubens turned to landscape painting in the 1630s, focusing on the area around his chateau, Het Steen. A well-known example is the ''Landscape with a view of 'Het Steen''' ([[National Gallery of London]]).

===Marine painting===
Small seascapes (''zeekens'') were another popular theme. Artists such as [[Bonaventura Peeters]] painted shipwrecks and atmospheric views of ships at sea, as well as imaginary views of exotic ports. [[Hendrik van Minderhout]], who was from [[Rotterdam]] and settled in Antwerp, continued this latter theme contemporaneous with developments of [[marine painting]] in the Dutch Republic.

==Architectural painting==
{{main|Architectural painting}}
Interior architectural views, usually of churches, developed out of the late sixteenth-century works of [[Hans Vredeman de Vries]]. Many were actual locations. [[Pieter Neeffs I]], for example, made numerous interiors of the [[Cathedral of Our Lady, Antwerp]]. [[Hendrik van Steenwijk II]], on the other hand, followed Vredeman's precedent in painting imaginary interiors. The genre continued in the later seventeenth century by [[Anton Ghering]] and [[Wilhelm Schubert van Ehrenberg]], but the Flemish examples do not demonstrate the same level of innovation found in the Dutch perspectives of [[Pieter Jansz Saenredam]] or [[Emanuel de Witte]].<ref name="vlieghe200">Vlieghe, pp. 200–202.</ref>

[[File:David Teniers the Younger - Archduke Leopold William in his Gallery at Brussels - Google Art Project.jpg|thumb|right|David Teniers the Younger, ''[[Gallery of Archduke Leopold Wilhelm in Brussels (Vienna)|The Archduke Leopold Wilhelm in his gallery in Brussels]]''. Teniers documented the archduke's collection of paintings in this work while he was court painter in Brussels.]]

==Gallery and art collection painting==
Gallery paintings appeared in Antwerp around 1610, and developed—like architectural interiors—from the compositions of [[Hans Vredeman de Vries]].<ref>Vlieghe, p. 202.</ref> One of the earliest innovators of this new genre was [[Frans Francken the Younger]], who introduced the type of work known as the ''Preziosenwand'' (wall of treasures). In these, prints, paintings, sculptures, drawings, as well as collectable objects from the natural world like shells and flowers are collected together in the foreground against a wall that imitates encyclopedic [[Cabinet of curiosities|cabinets of curiosities]]. A similar variation of these collections of artistic wealth are the series of the [[sense|five senses]] created by [[Jan Brueghel the Elder]] and Rubens ([[Prado Museum]], [[Madrid]]). [[Willem van Haecht]] (1593–1637) developed another variation in which illustrations of actual artworks are displayed in a fantasy art gallery, while connoisseurs and art lovers admire them.

Later in the century, [[David Teniers the Younger]], working in the capacity of court painter to [[Archduke Leopold Wilhelm of Austria]], documented the archduke's collection of Italian paintings in Brussels as gallery painters as well as in a printed catalogue–the ''[[Theatrum Pictorium]]''. Flemish Gallery and art collection paintings have been interpreted as a kind of visual theory of art.<ref>Vlieghe, pp. 202–206.</ref> Such paintings continued to be made in Antwerp by [[Gerard Thomas]] (1663–1721) and [[Balthasar van den Bossche]] (1681–1715), and foreshadow the development of the [[veduta]] in Italy and the galleries of [[Giovanni Paolo Pannini]].

[[File:Jan Brueghel the Elder - Flowers in a Wooden Vessel - Google Art Project.jpg|thumb|upright|left|Jan Brueghel the Elder, ''Flower Still Life'', 1606/7. Brueghel was an innovator of the flower still life genre.]]

==Still life and animal painting==

===Flower painting===
[[Jan Brueghel the Elder]] was one of the important innovators of the floral still life around 1600.<ref name="vlieghe207"/> These paintings, which presented immaculately observed arrangements and compositions, were imaginary creations of  flowers that bloom at different times of the years.<ref name="vlieghe207" /> They were popular with leading patrons and nobility across Europe, and generally have an underlying [[Vanitas]] motif. The compositions of Brueghel's paintings were also influential on later Dutch flower pieces.<ref name="vlieghe208">Vlieghe, p. 208.</ref> Brueghel's sons [[Jan Brueghel the Younger]] and [[Ambrosius Brueghel]] were also flower specialists. [[Osias Beert]] (1580–1624) was another flower painter at the beginning of the 17th century. His paintings share many similarities with northern contemporaries such as [[Ambrosius Bosschaert the Elder]].<ref name="vlieghe208" />

===Garland painting===
Closely related to the flower still life is the flower garland genre of painting that was invented by Jan Brueghel in collaboration with [[Cardinal (Catholicism)|cardinal]] [[Federico Borromeo]] in [[Milan]].<ref>David Freedberg, "The Origins and Rise of the Flemish Madonnas in Flower Garlands, Decoration and Devotion", ''Münchener Jahrbuch der bildenden Kunst'', xxxii, 1981, pp. 115–150.</ref> The early versions of these paintings, such as the collaboration by Breughel and Rubens in Munich ([[Alte Pinakothek]], [[Munich]]) show the [[Virgin Mary]] and [[Christ]] child surrounded by a garland of flowers. They have been interpreted as distinctly Counter Reformation images, with the flowers emphasizing the delicacy of the Virgin and Child–images of which were destroyed in large numbers during the [[Iconoclasm|iconoclastic]] outbreaks of 1566.<ref>Freedberg (1981), ''op. cit.''</ref> Brueghel's student, the [[Jesuit]] painter [[Daniel Seghers]], also painted many of these types of works for an international clientele.<ref name="vlieghe209">Vlieghe, p. 209.</ref> In later versions, the fleshy Madonna and Child gave way to sculptural niches and even pagan themes.

[[File:Osias Beert - Oysters 1610.jpg|thumb|right|Osias Beert, ''Still life with oysters'', ''c''. 1610. [[Staatsgalerie Stuttgart]]. Beert's still lifes are typical of the "breakfast" type painted early in the 17th century.<br />&nbsp;]]

===Breakfast and banquet still life===
The ''ontbijtje'', or "little breakfast", is a type of still life that was popular in both the northern and southern Netherlands showing a variety of eating and drinking vessels and foods such as cheese and bread against a neutral background. [[Osias Beert]], [[Clara Peeters]], [[Cornelis Mahu]] and [[Jacob Foppens van Es]] (''c''. 1596–1666) were all artists who made these types of painting. More elaborate are the ''pronk'', or "sumptuous", still life. This style developed in the Dutch Republic, and was brought to Antwerp by [[Jan Davidsz de Heem]]. They show, on a larger scale than earlier works, complex compositions of expensive items, rare foods, and fleshy, peeling fruit. These paintings are related to [[vanitas]] and transience motifs.

[[File:Frans SNYDERS, The Pantry.JPG|thumb|left|Frans Snyders, ''The Pantry'', ''c''. 1620.]]

===Animal still life===
[[Frans Snyders]] (1579–1657) painted large still lifes focusing on dead game and animals. His compositions, along with those of his follower [[Adriaen van Utrecht]] (1599–1652). look back to the sixteenth-century paintings of [[Pieter Aertsen]] and [[Joachim Beuckelaer]], but instill that tradition with a High Baroque monumentality.<ref name="vlieghe211">Vlieghe, pp. 211–216.</ref> Subsequent artists, [[Jan Fyt]] and [[Pieter Boel]] further elaborated on this type by including a noticeable mixture of living animals and dead game. These latter paintings are closely related to images of the hunt, which came into fashion in Flemish painting during the 17th century.

[[File:Peter Paul Rubens 110.jpg|thumb|right|Peter Paul Rubens, ''[[The Tiger, Leopard and Lion Hunt]]'', ''c''. 1617–1618. Musée des Beaux Arts, Rennes. This painting is typical of Rubens's "exotic" hunts painted between about 1615 and 1625.]]
{{clear|left}}

==Hunting scenes==
Rubens introduced the monumental hunt to Flemish art, depicting on a large scale a close battle inspired by his study of classical antiquity and [[Leonardo da Vinci]]'s ''[[The Battle of Anghiari (painting)|Battle of Anghiari]]''. These works show both noble hunts, such as the ''Wolf and Fox Hunt'' ([[Metropolitan Museum of Art]]), and exotic hunts, such as the ''Lion Hunt'' ([[Alte Pinakothek]], [[Munich]]). [[Frans Snyders]] and [[Paul de Vos]] created similarly large paintings which are 
distinct from Rubens's works in their focus on the animals and absence of human participation.

==Cabinet painting==
Small, intricate paintings, usually depicting history and biblical subjects, were produced in great numbers in the Southern Netherlands throughout the 17th century. Many were created by anonymous artists, however artists such as [[Jan Brueghel the Elder]], [[Hendrik van Balen]], [[Frans Francken the Younger]] and [[Hendrik de Clerck]] were all successful [[cabinet painting|cabinet painters]] during the first half of the 17th century. These artists, as well as followers of [[Adam Elsheimer]] like [[David Teniers the Elder]], remained partly shaped by continued mannerist stylistic tendencies. However, Rubens influenced a number of later artists who incorporated his Baroque style into the small context of these works. Among them are [[Frans Wouters]], [[Jan Thomas van Ieperen]], [[Simon de Vos]], [[Pieter van Lint]], and [[Willem van Herp]]. These small paintings were traded widely throughout Europe, and by way of Spain to [[Latin America]].<ref>Vlieghe, pp. 105–114.</ref>

==See also==
* [[Antwerp school]]
* [[List of Flemish painters]]
* [[Flemish painting]]

==References==
{{Reflist}}

==Sources==
* Belkin, Kristin Lohse (1998). ''Rubens''. London: [[Phaidon Press]]. {{ISBN|0-7148-3412-2}}
* Martin, J. R. (1977). ''Baroque''. New York: [[Harper & Row]]. {{ISBN|0-06-435332-X}}
* Slive, S. (1995). ''Dutch painting 1600-1800''. Yale University Press Pelican history of art. New Haven, Conn: [[Yale University Press]]. {{ISBN|0-300-06418-7}}
* Sutton, P. C., & Wieseman, M. E. (1993). ''The Age of Rubens''. Boston: [[Museum of Fine Arts, Boston|Museum of Fine Arts]] in association with Ghent. {{ISBN|0-8109-1935-4}}
* Vlieghe, Hans (1998). ''[https://books.google.com/books?id=AS_NXFoY0M4C Flemish Art and Architecture, 1585-1700]''. Yale University Press Pelican history of art. New Haven: Yale University Press. {{ISBN|0-300-07038-1}}

== External links ==

{{Caravaggisti}}
{{Western art movements}}


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