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484:. A drawing by Erasmus has been identified as being a study for a group of three music-making angels on one of the organs, although none corresponds exactly to the angels now on the organs. It seems that in these designs he did not attempt to create a precise three-dimensional model to be followed by the sculptor but rather an outline from which the sculptor executing the sculpture could work freely.
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From the 1640s, his style took on a classicizing aspect and a sculptured look. Erasmus never travelled to Italy so this stylistic development was likely influenced by the work of his brother Artus, who introduced his own style of classicizing
Baroque in Flemish sculpture after returning from Rome in
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themes for churches and monasteries throughout the
Southern Netherlands. He also received many civic commissions which allowed him to show his learning in the depiction of scenes from ancient history and mythology and allegorical compositions. In addition, he produced portraits, battle scenes and
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were all prominent sculptors who worked for a local and international clientele. It is therefore no surprise that
Erasmus was a prolific designer of sculptures and decorative projects. The inventory of his estate lists hundreds of drawings, of which at least 43 are for architecture, which would
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As was common in
Antwerp at the time, Quellinus collaborated with other painters. He worked with still life specialists on still lifes and portraits. Many of the still lifes fall into the category of 'garland paintings'. Garland paintings are a special type of still life invented in Antwerp and
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and one of the closest collaborators of Rubens in the 1630s. Following Rubens' death in 1640 he became one of the most successful painters in
Flanders. He was a prolific draughtsman who made designs for decorative programmes in the context of official celebrations, for publications by the local
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From c. 1650 this classicism in his work became rigid and his compositions from this period made use of a limited number of stereotyped and idealized figure types. This stylistic development is evident in the interior decorations he made for the new City Hall of
Amsterdam, which he executed in
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His first wife died in 1662. On 9 November 1663, Erasmus
Quellinus II married Françoise de Fren. De Fren was the daughter of the well-off André de Fren, secretary of the Council of Brabant, and the sister of Isabella de Fren, who was married to the court painter
428:(Royal Museums of Fine Arts of Belgium, Brussels). These designs are executed in his classicizing style. He also made a series of 8 sketches with battle scenes for another tapestry series also kept in the Royal Museums of Fine Arts of Belgium.
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After Rubens' death in 1640 Erasmus
Quellinus became one of the leading history painters of Flanders. He received many commissions for altarpieces in the region. In 1648 he was commissioned to make the decorations for the Joyous Entry of the
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in 1633–1634. In the 1630s, the artist worked and likely studied in the workshop of Rubens and regularly collaborated on projects with Rubens. In 1634 Erasmus II married
Catharina de Hemelaer, a niece of Jan de Hemelaer, the deacon of
333:). The painting has a theatrical background like a park. This tendency became more evident in the 1660s when his paintings started to include grandiose scenery with flamboyant architecture. This is clear in the
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Quellinus came from an artistic family whose predominant activity was the design and execution of sculptures and architectural decorations. His father, older brother and cousin as well as his brother-in-law
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became one of the leading artistic families in
Antwerp, producing sculptors, painters and printmakers who would develop careers in Flanders and abroad. Father Erasmus Quellinus I, a sculptor, had moved from
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Even while he was a frequent collaborator with Rubens' workshop in the 1630s, Quellinus developed a personal style distinctive from that of Rubens. This style is reminiscent of the Antwerp followers of
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have included altarpieces and large-scale sculptures as well as others for sculpture and decoration. He is believed to have contributed designs for the organs in the Antwerp cathedral and
358:. These paintings typically show a flower garland around a devotional image or portrait. Garland paintings were usually collaborations between a still life and a figure painter.
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with a strong grounding in ancient history and philosophy. He had built an extensive library and art collection. This learning is reflected in the subject matter of his work.
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His brother Artus Quellinus I returned to Antwerp from Rome around 1640. Artus worked in a classicizing style of Baroque under the influence of his compatriot, the sculptor
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according to Rubens' instructions regarding iconography and layout. These drawings were in Quellinus' own style as Rubens let him a free hand in the design of the modelli.
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In addition to the frontispieces he produced for the Plantin Press, he made designs for various publications for the Antwerp publishers. This includes his designs for the
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200:. Erasmus assisted in this project and the brothers also collaborated on other commissions. Erasmus painted altarpieces for clandestine Catholic churches in Amsterdam.
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by Seger van Dort. For this book, which Geeraerdt van Wolsschaten published in Antwerp in 1650, Erasmus made the designs for the illustrations which were engraved by
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into Antwerp, thus playing the same role as Rubens 13 years earlier for the Joyous Entry of Ferdinand. He made the decorations for the announcement of the
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38:(November 19, 1607 – November 11, 1678) was a Flemish painter, engraver, draughtsman and tapestry designer who worked in various genres including
385:. These collaborators painted the flower garland while Quellinus painted the figures and architectural setting. An example is the
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publishers and for tapestries and sculptures realised by the local workshops. His work reveals the Classicist trend in the Baroque.
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Hans Vlieghe and Iris Kockelbergh. "Quellinus." Grove Art Online. Oxford Art Online. Oxford University Press. Web. 9 November 2014
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Quellinus commenced his apprenticeship with Jan Baptist Verhaeghe, an obscure artist, in 1633. He became a master of the Antwerp
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Quellinus was a very versatile artist who worked in various genres. He received numerous commissions for altarpieces depicting
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near Madrid. For this project Quellinus painted decorations after oil sketches by Rubens some of which have been preserved (
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Review of Susan Merriam, Seventeenth-Century Flemish Garland Paintings. Still Life, Vision and the Devotional Image
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Quellinus executed various tapestry designs. In 1649 he produced the designs for a tapestry series depicting the
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Quellinus became a regular collaborator of Rubens starting from 1635. He first worked on the decorations for the
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Dans le sillage de Rubens: Erasmus II Quellinus (1607–1678) In Rubens’ footsteps, Erasmus Quellinus (1607–1678)
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Around 1656 Erasmus worked in Amsterdam where his brother Artus was responsible for the decoration of the new
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His pupils included his son Jan Erasmus Quellinus, Guilliam Forchondt (II), Julius de Geest, Willem de Ryck,
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collaboration with his brother Artus. The brothers achieved stylistic agreement in this commission: the
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Den methamorphosis ofte Herscheppinge van P. Ovidivs Naso: verdeelt in XV boecken, versiert met figueren
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Quellinus collaborated on garland paintings with still life specialists, such as his brother-in-law
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1640. Both brothers depicted similar idealizing Antique figures in their work in this period. His
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Eight sketches for a tapestry series in the Royal Museums of Fine Arts of Belgium
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Erasmus' work also gained a theatrical aspect as reflected in the 1652 painting
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to Antwerp. The brothers of Erasmus Quellinus the Younger were both artists:
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From the notes made by his son Jan Erasmus in the margin of his copy of
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Self-portrait with his wife Catherina de Hemelaer and son Jan Erasmus
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into Antwerp of the new governor of the Habsburg Netherlands
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followed in his father's footsteps and became a painter.
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designs for tapestries. Like Rubens, Quellinus was a
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84:(1609–1668) was a leading Baroque sculptor and
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510:Matthias Depoorter,
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306:Judgement of Solomon
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144:of the Spanish king
36:Erasmus Quellinus II
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264:Caravaggio
175:Classicism
631:at Codart
337:of 1664 (
323:Artemisia
198:City Hall
164:Artemisia
146:Philip IV
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343:Brussels
266:such as
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395:Jan Fyt
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Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
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