Hendrick van Balen (Antwerp, c. 1574/1575-1632), important large oil on...
Hendrick van Balen (Antwerp, c. 1574/1575-1632), important large oil on copper
Large copper measuring 90 x 70 cm. Framed measurements 102 x 85 cm. (Antwerp, h. 1574 / 1575-1632) Trained in Italy, where he remained until 1600-1602, visiting Rome and Venice. No works are known from his Italian period, although his early paintings show great relation to the compositions of Annibale Carracci and Palma the Younger. The Venetian influence can be seen in the clearly Mannerist positions of his figures, as well as in the female nudes. Despite creating, at the beginning of his career, altar paintings where the powerful Romanization inherited from Noort can be observed, Van Balen would evolve towards a greater colorful decorativeism closer to the influence of Anton van Dyck, who is suspected to have passed through his studio around 1609. Initially he collaborated with painters such as Abel Grimmer, for whose View of Antwerp (Koninklijk Museum voor Schone Kunste, Antwerp) he painted the figures. However, it is in cabinet painting that he achieved greatest success, with a decided emphasis on themes such as the four elements, the banquet of the gods and similar representations that allowed beautiful nudes to be placed in paradisiacal natural environments. A frequent collaborator of Jan Brueghel the Elder, there are numerous works carried out jointly by both artists, in which Brueghel provided the flower garlands and Van Balen the figures; one of the best examples of this pictorial association is Ceres with the Four Elements (Pinacoteca Ambrosiana, Milan). Bibliography: Jost, I., “Hendrik van Balen der Ältere”, Nederlands Kunsthistorisches Jaarboek, vol. XIV, The Hague, 1963, pp. 83-128.
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Hendrick van Balen (Antwerp, c. 1574/1575-1632), important large oil on copper
Large copper measuring 90 x 70 cm. Framed measurements 102 x 85 cm. (Antwerp, h. 1574 / 1575-1632) Trained in Italy, where he remained until 1600-1602, visiting Rome and Venice. No works are known from his Italian period, although his early paintings show great relation to the compositions of Annibale Carracci and Palma the Younger. The Venetian influence can be seen in the clearly Mannerist positions of his figures, as well as in the female nudes. Despite creating, at the beginning of his career, altar paintings where the powerful Romanization inherited from Noort can be observed, Van Balen would evolve towards a greater colorful decorativeism closer to the influence of Anton van Dyck, who is suspected to have passed through his studio around 1609. Initially he collaborated with painters such as Abel Grimmer, for whose View of Antwerp (Koninklijk Museum voor Schone Kunste, Antwerp) he painted the figures. However, it is in cabinet painting that he achieved greatest success, with a decided emphasis on themes such as the four elements, the banquet of the gods and similar representations that allowed beautiful nudes to be placed in paradisiacal natural environments. A frequent collaborator of Jan Brueghel the Elder, there are numerous works carried out jointly by both artists, in which Brueghel provided the flower garlands and Van Balen the figures; one of the best examples of this pictorial association is Ceres with the Four Elements (Pinacoteca Ambrosiana, Milan). Bibliography: Jost, I., “Hendrik van Balen der Ältere”, Nederlands Kunsthistorisches Jaarboek, vol. XIV, The Hague, 1963, pp. 83-128.
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