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DEATHS: 1795 ANTROPOV — 1853 BLONDEL

BIRTHS: 1634 RECCO — 1890 SCHIELE — 1858 TUKE

^ Born on 12 June 1634: il cavaliere Giuseppe Recco, Neapolitan still-life painter who died on 29 May 1695.
— He was the outstanding member of a family of artists. He specialized in pictures of fish, painted in an impressively grand style, but more austere than those of Ruoppolo, with whom he ranks as the most distinguished Italian still-life painter of his period. He may have visited Lombardy and may have been influenced by Baschenis, but his works are all in the Spanish realist tradition of the Bodegón painting — some have been attributed to Velázquez — which goes back to Caravaggio. He died in Spain. Three of the family members — Giacomo, Giovanni Battista and Giuseppe — used the monogram G R which causes problems of attribution. Giacomo [1603 – before 1653] was the eldest, and was the father of Giuseppe, the most famous of the family. Giovanni Battista [1615-1660] may have been Giuseppe's brother but was more likely his uncle.
— Giuseppe Recco was the most celebrated Neapolitan still-life painter of his day. He began in the tradition of his father and (probable) uncle Giovanni Battista Recco, painting naturalistic arrangements of flowers, fish, game and kitchen scenes. There are many signed and dated works which chart the development of his style. The Bodegón with a Negro and Musical Instruments (1659), the Bodegón with Fish (1664) and the Kitchen Interior (1675) are close to the art of Giovanni Battista Recco. The fish and kitchen still-lifes are typically Neapolitan, yet Giuseppe’s art is distinguished by the intensity with which he observes light and surface texture and by the clarity of the composition, based on a careful balance of horizontals and verticals. He moved toward a more Baroque and decorative style, and the unfinished Still-life with Fruit, Flowers and Birds (1672) and the Still-life with Fruit and Flowers (1670) are mature, more theatrical works that suggest the influence of Abraham Breughel [1631–1680] and Giuseppe Battista Ruoppolo.

— LINKS
— Still-Life with Fruit and Flowers (1670, 255x301cm; 866x1030cm, 158kb) _ This monumental still-life, placed in a landscape with rich vegetation, is a late work of the artist.
— Still life with fish (600x965pix _ ZOOM to 1400x2251pix)
— Still life with fish and oysters in a cave (600x841pix _ ZOOM to 1400x1962pix)
— Still life with open book (600x900pix _ ZOOM to 1400x2100pix)
— Dead Game (984x820, 116kb) — Still-life with the Five Senses (1676, 770x1087pix, 111kb)
— Flowers and Game (250x335cm) — Raie sur un chaudron et poissons dans un panier
— Still life of fish and lobster (1650, 48x64cm; 594x800pix, 70kb)
— Kitchen Still-Life with Turkeys (1675, 182x129cm image cropped to 182x124cm, 645x441pix, 84kb _ ZOOM to 1400x957pix)

^ Died on 12 June 1795: Aleksey Petrovich Antropov, Russian painter born on 14 March 1716.
— He was trained at the Construction Office in St Petersburg, where his teachers included Ivan Vishnyakov, in whose team of painters Antropov later worked. He participated in the decorative painting of the Winter Palace and other imperial residences in St Petersburg and its environs. In 1752 he embarked on painting Andreyevsky Cathedral in Kiev and produced icons for its iconostasis. He returned to St Petersburg in 1758 and then was trained for two years by Pietro Antonio Rotari. Soon afterwards he was appointed principal supervisor of the artists and icon painters of the Synod.

— Peter the Great (1772) linking to a series of portraits of Peter the Great by other artists.
— Father Fyodor Dubyansky (1761, 71kb) — Empress Elizaveta Petrovna (1755)
— The Lady-in-Waiting A. M. Izmaylova (1759) — Princess T. A. Trubetzkaya (1761)
— F. Krasnoschiokov (1761)
— Grand Duchess Catherine Alekseevna, Future Empress Catherine II the Great (1761)
— Catherine II the Great (1766) — Emperor Peter III (1762)
— Countess M. A. Rumyantzeva (1764) — General-in-Chief, Count William W. Fermor (1765).
— Unknown Woman. (1785). — Rumyantseva (1764)

^ Born on 12 June 1890: Egon Schiele, Austrian expressionist painter, draftsman, printmaker who died on 31 October 1918 in the influenza epidemic.
— Noted for the eroticism of his figurative works. A student at the Vienna Academy of Fine Arts (1907-1909), Schiele was influenced by the "Jugendstil" movement (German Art Nouveau). He met Gustav Klimt, leader of the Vienna Sezession group. The linearity and subtlety of Schiele's work owe something to Klimt's decorative elegance. Schiele, however, emphasized expression over decoration, heightening the emotive power of line with feverish tension. He concentrated on the human figure, and his candid, agitated treatment of erotic themes caused a sensation. 1909: helped found the Neukunstgruppe (New Art Group) in Vienna. 1911-onward: exhibited throughout Europe. A special room was devoted to his work at a 1918 Sezessionist exhibit in Vienna, shortly before his death from Spanish influenza. Important works include "The Self Seer" (1911), "The Cardinal and Nun" (1912), and "Embrace" (1917). His landscapes exhibit the same febrile quality of color and line.
— As a student at the Vienna Academy of Fine Arts (1907-1909), Schiele was strongly influenced by the Jugendstil movement, the name for the German Art Nouveau. He met Gustav Klimt, leader of the Vienna Sezession group, and the linearity and subtlety of Schiele's work owe much to Klimt's decorative elegance. Schiele, however, emphasized expression over decoration, heightening the emotive power of line with a feverish tension. He concentrated from the beginning on the human figure, and his candid, agitated treatment of erotic themes caused a sensation. In 1909 he helped found the New Art Group. From 1911 on he exhibited throughout Europe, and a special room was devoted to his work at a 1918 Sezessionist exhibit in Vienna. Important works include The Self Seer (1911), The Cardinal and Nun (1912), and Embrace (1917).

— LINKS
— Selbstbildnis (1911; 600x753pix _ ZOOM to 1400x1757pix)
— Männlicher Akt (Selbstbildnis) I (1912 lithograph, 42x17cm; 3/4 size)
— Heinrich Wagner, Leutnant i.d. Reserve (1917) _ A survivor after three years of war, he had been decorated; there are two medals on his tunic, but his face, eyes and joined hands indicate the weariness and the indifference of this prematurely old man. Schiele portrays him in the same way as he had formerly depicted the Russian prisoners he guarded — with the same coldness and objective acuteness. The absence of the bust, uniform and any setting aggravates this feeling of loss and isolation. This could also be a depiction of Schiele's own loneliness (which his peers in Vienna considered distrustfully if not reprovingly, so much so that they took him to court for alleged indecency).
— Russischer Kriegsgefangener (1915, pencil and gouache, 45x31cm) _ Having to guard Russian soldiers captured by the Austro-Hungarians during the early months of the war, Schiele was such an exception. Rather than watching over his captives, Schiele made them pose for him. And rather than looking for the enemy in them, what he found was isolated, sometimes sick, often melancholy individuals. The Russian officer has kept his characteristic fur hat, but in him Schiele recognises not a stranger, even less an enemy, but another man, a fellow human.
— Paris von Gütersloh [1887-1973] (1918, 140x110cm; 1000x788pix, 879kb _ ZOOM to 2280x1796pix, 4057kb) _ Due to Schiele's death from an influenza epidemic in 1918, he never completed this painting of his friend Paris von Gütersloh. Nonetheless, it remains a masterpiece of Austrian Expressionist portraiture. Gütersloh was a painter, writer, actor, producer, and stage designer, who wrote the first study of Schiele's art in 1911. Schiele admired his friend's extraordinary intellectual and artistic talents and sought to portray him as a creative genius. With his hands elevated in a gesture of both attraction and repulsion, Gütersloh is shown with his eyes transfixed and body tense at the moment of artistic inspiration.
— Gerti Schiele in a Plaid Garment (1909, 133x52cm; 1000x383pix; 328kb _ ZOOM to 3224x1234pix; 2526kb) _ well, only partially "in" _ Schiele's drawing of his sister, Gerti, is a striking example of the decadent eroticism that infused art in Vienna at the turn of the century. Most likely originally conceived as a study for a stained-glass window, it is related in its provocative nudity and flat, decorative patterning to Viennese Jugendstil and the paintings of Gustav Klimt, which influenced Schiele's own work until 1909. The claw-like hands and emaciated body lend the teen-aged Gerti an air of decadence, corresponding to popular depictions of the Biblical temptresses Judith and Salomé. Although surrounded in a distinct air of impropriety, this drawing testifies to the artist's confident mastery of line and his sensitive gift for portraiture.
— Two Little Girls (1911; 996x755pix)
— 235 images at the Athenaeum

^ Died on 12 June 1853: Merry-Joseph Blondel, French painter born on 25 July 1781.
— After an apprenticeship at the Dihl et Guerhard porcelain factory in Paris, where he was taught by Etienne Leguay (1762–1846), Blondel moved to Jean-Baptiste Regnault’s atelier in 1802. He won the Prix de Rome in 1803 with Aeneas and Anchises but did not go to Rome until 1809, when he stayed there for three years. After gaining a gold medal in the Salon of 1817 for the Death of Louis XII, Blondel embarked on a wide-ranging and successful career as official decorative painter. In addition to the decoration of the Salon and of the Galerie de Diane at Fontainebleau (1822–1828) and the ceiling of the Palais de la Bourse (sketch, 1825), he received commissions for several ceilings in the Louvre, of which the earliest and most remarkable is in the vestibule to the Galerie d’Apollon (Le Soleil. La Chute d'Icare). The ceiling painting in the Salle Henri II (La Dispute de Minerve et de Neptune au sujet d'Athènes, 1822) was removed in 1938, while those in the Salles du Conseil d’Etat, La France Victorieuse à Bouvines (1828) and La France au milieu des rois législateurs et des jurisconsultes français, reçoit de Louis XVIII la Charte constitutionnelle (1827), are still in place. These monumental allegorical compositions belong to the tradition of David, which by the 1820s had become academic, and display more learning than originality.

— LINKS
— Woman seated beneath a Tree (1830, 122x87cm; 800x576pix, 47kb — ZOOM to 2000x1440pix, 291kb) _ head detail (947x1208pix, 73kb) _ face detail (874x1202pix, 41kb) _ The young woman has removed her vast shunshade hat and her head seems to be shaved and topped by a small cylindrical basketweave hat, which is actually her tightly packed braids. With a landscape seen over her shoulder, a half-smile, and a penetrating gaze at the viewer, she is somewhat reminiscent of the Mona Lisa (1505, 77x53cm; 1184x800pix, 128kb) of Leonardo da Vinci [1452-1519], aside from the hair.
— La France Victorieuse à Bouvines en 1214 (1828; 470x1152pix, 75kb)
— La Mort de Louis XII Surnommé le Père du Peuple (1817, 320x385cm) [ce que l'histoire ne dit pas c'est combien de “Mères du Peuple” ont collaboré à lui mériter ce surnom. En tout cas, ni elle(s) ni le peuple ne sont présents dans ce tableau.]
— La Dispute de Minerve et de Neptune au sujet d'Athènes (1822, 40x54cm) _ Esquisse pour le plafond de l'ancienne antichambre du Roi. Cette salle servit encore quelques jours par an (de 1820 à 1830) à Louis XVIII et Charles X qui s'y arrêtaient avant la rentrée parlementaire. En 1822, Blondel, à la demande de Fontaine, combla le vide des boiseries du plafond du XVIe siècle avec cette Dispute de Minerve et de Neptune. Elle fut déposée en 1938 et remplacée en 1953 par Les Oiseaux de Georges Braque [1882-1963].
— La France au milieu des rois législateurs et des jurisconsultes français, reçoit de Louis XVIII la Charte constitutionnelle (1827, 65x54cm; 430x432pix, 48kb) _ Plafond de l'ancienne seconde salle du Conseil d'Etat au Louvre, commandé en 1826. Voussures : huit bas-reliefs feints en camaïeu d'or (L'Installation des Parlements par saint Louis, La Création de la Cour des comptes par Philippe le Bel, Les Premières chartes des communes données par Louis le Gros, La Pragmatique Sanction donnée par saint Louis, La Liberté des cultes maintenue par Louis XVIII, La Création du Conseil d'Etat par Louis XIV, L'Affranchissement des serfs par Louis le Gros, La Création des Chambres par Louis XVIII) séparés, au centre de chacun des côtés de la salle, par des groupes allégoriques (La Charité, Le Génie des Lois montrant la Charte à l'Espérance et à la Foi, L'Abondance, La Piété et la Fidélité) et, dans les angles, par les armes de France portées par Mars et Neptune, Vulcain et Hercule, le Silence et Apollon, Mercure et la Constance. Salon de 1827.
— L'Air. Eole déchaînant les vents contre la flotte troyenne (1819, 280x213cm) _ Compartiment de la voussure du plafond de la rotonde d'Apollon au Louvre (les trois autres compartiments sont d'Auguste Couder [1790-1873], y compris La Terre, et Le Feu), commandé en 1818.
— Le Soleil. La Chute d'Icare (1819, 271x210cm) _ Composition centrale du plafond de la rotonde d'Apollon au Louvre commandé en 1818. Salons de 1819 et de 1833.
— Richard 1er, dit Coeur-de-Lion, roi d'Angleterre (1157-1199) (1841; 512x272pix, 36kb)

^ Born on 12 June 1858: Thomas Tuke, British painter who died on 30 March 1929.
— Tuke entered the Slade School of Art, London, in 1875, under Alphonse Legros and Sir Edward Poynter. In 1877 he won a Slade scholarship and in 1880 traveled to Italy, where he made his first nude life drawings, an important revelation to him of light, color and the human form. From 1881 to 1883 he was in Paris and met Jules Bastien-Lepage, who encouraged his studies en plein air. Admiring Bastien-Lepage's practice of focusing different areas of a painting by degrees of finish, Tuke adopted this in his own mature work.
     In 1883 Tuke settled in Newlyn, Cornwall, and was a founder-member of the Newlyn school. In 1885 he moved to Falmouth, spending the rest of his life based there. During the 1880s he produced anecdotal plein-air paintings of the life of the Cornish fishing community. All Hands to the Pump (1888, 185X140cm) is a typical example, showing his alertness to tensions and movements in the human body and his ability to combine classical compositional principles with naturalistic detail, while giving coherence by sensitive rendering of atmosphere.
      In 1892 Tuke traveled to Italy, Corfu and Albania; thereafter his palette lightened dramatically, and his technique gained a new Impressionistic freedom. The nude adolescent male emerged as his principal motif in such pictures as August Blue (1893, 122x183cm). His admiration of James McNeill Whistler appears in the creation of mood at the expense of narrative and in his preference for evocative titles. An implicit homoerotic element caused some unease at the time.
      In 1886 Tuke was a founder-member of the New English Art Club and in 1900 he was elected an ARA. He also acquired a London studio where he spent the winters, usually working on portrait commissions. His work in this field was much admired, and he painted such notable figures as the cricketer W. G. Grace and T. E. Lawrence (1921). An accomplished watercolorist, in 1911 he became a member of the Royal Watercolor Society. He also worked in pastels and executed a single sculpture, The Watcher (1916), of which five bronze casts were made.
      In 1914 Tuke was made an RA, and his painting style and subject-matter remained substantially unchanged: Aquamarine (1928), probably his last easel painting, closely resembles the earlier R*>Ruby, Gold and Malachite (1901). In later pictures, however, the models are no longer portraits, but interchange heads and bodies as vehicles of Tuke's vision. Impersonality and detachment combined with sincere commitment to subject and atmosphere characterize his mature style and challenged artistic expectations of the time, broadening the parameters of British plein-air painting.
      In 1923 Tuke visited Jamaica and Central America, producing some fine watercolors. Penetrating the interior of Belize, however, he became ill and was forced to return home. He never fully recovered his health, although his passion for travel remained undiminished.

— LINKS
— The Promise
— The Rowing Party (28x63cm)
— The Fisherman (35x64cm)
— Mrs. Florence Humphris (1892, 40x32cm)
— Lord Ronald Sutherland Gower (1897, 61x51cm)
— Midsummer Morning
— The Run Home
— Ruby, Gold, and Malachite (1901, 40x60cm)
— Shipping off the Coast (1895, 25x35cm; 666x900pix, kb)
— All Hands to the Pumps (1889, 186x140cm) _ Tuke shows a ship that has lost one of its sails, and is being swamped by heavy seas. The crew desperately pump water out of the hull. The figure standing in the shrouds gestures towards something, but it is ambiguous whether it is rescue or a wave that will destroy the ship. At the time of painting this picture Tuke was living aboard an old French brig, the Julie, anchored in Falmouth Harbour. In a letter to his mother he wrote 'I am just ordering a stretcher for my great pumping picture which is to be rather a big venture, about ten figures altogether...all this is quite contrary to your notions of doing small pictures but I am rather of Mr. Bartlett's opinion that the big uns get yer name up, Tooke.'
— August Blue (1894, 122x183cm) _ The fall of sunlight on the young nude male body fascinated Tuke, and he painted it again and again. He believed in open air painting, and August Blue was started out of doors in Falmouth Harbor. Tuke helped set up the New English Art Club in 1886. Although he was a Newlyn artist he was much respected by the Impressionist clique of Sickert and Steer, and when the Newlyn painters resigned from the Club in 1890, Tuke stayed on. The ambition to paint large scale figures in a natural light united the many trends of advanced painting in Britain in the 1880s.
— Shipping Scene
— On the Dunes (1906, 24x34cm)

Died on a 12 June:

^ 1951 Louis Auguste Mathieu Legrand, French painter, printmaker, and draftsman, born on 23 September 1863. He was trained at the École des Beaux-Arts in Dijon and in 1884 moved to Paris, where he worked as a caricaturist and political satirist for La Journée and Le Journal amusant and from 1887 for the more influential Courrier français. He received a brief prison sentence for a mildly obscene satire in Courrier français on Émile Zola. About 1885 he met Félicien Rops, who taught him the techniques of etching. In 1891 he produced a series of watercolors for the magazine Gil Blas, depicting dancers warming up for the cancan. These proved so successful that he was asked to produce 11 etchings on a similar theme, Danse, fin de siècle (1892). This success brought him to the attention of Gustave Pellet, one of the best print publishers of the period, who published his 15 lithographs, Au Cap de la chèvre (1892). It was followed by a set of etchings depicting ballet rehearsals, Les Petits du Ballet (1893). He excelled in etchings of bars, cafés and other turn-of-the-century social scenes; later albums of these subjects included La Petite Classe (1908) and Les Bars (1909). He also produced landscapes such as Les Bords de la Marne (1905). His work in other areas tended towards the sentimental, however, as in Charles VI (1909) — Coquetterie (femme au miroir) (1900, 50x65cm) — Coquette (1896 etching, 26x34rm) — L'Hétaire (color etching, 1900, 42x33cm) — Réalisme (drypoint, 1909, 27x18cm) — Le Souper de l'apache (1904)

^ 1795 Johann-Christian Brand, Austrian painter born on 06 March 1722. Son of Christian Hilfgott Brand [16 Mar 1694 – 22 Jul 1756], from whom he received his first instruction in landscape painting. In 1736 he became a student at the Akademie der Bildenden Künste, Vienna. In 1751–1756 he was in the service of Nikolaus VIII, Graf Palffy, on his estates in Hungary and at his residence in Bratislava (now Slovakia). During this period he painted his earliest-known veduta, Landscape near Devin Castle, at the Confluence of the Morava and the Danube. After returning to Vienna, Brand was commissioned in 1758 by the imperial family to paint a series of four scenes of A Heron Hunt in the Region of Laxenburg. These were the first great studies from nature of the area around Vienna, recognizable in its topographical features and characteristic atmosphere. They are bird’s-eye views, whereas in the two large vedute Lake of Neusiedl (1764) and Bruck Castle (1765), the observer’s standpoint is a hill with a view of the wide plain, so that the horizon is lowered. — {So that's what the Brand brand of art was like.}— Niederösterreichische Landschaft südlich von Wien (1790; 400x573pix, 44kb)

1687 Jurian van Streek (or Treeck), Dutch artist born in 1632. — {Did he have a mean streek and play treecks on people?}

1661 Jacob-Willemszoon Delff II, Dutch artist born on 24 May 1619. Presumably son of Delft engraver Willem Jacobszoon Delff [15 Sep 1580 – 11 Apr 1638] and therefore grandson of Delft portrait painter Jacob Willemszoon Delff I [1550-1601].

1612 (burial) Arent (or Aert, Aertsen) Pieterszoon (or Pieterszen), Dutch artist born in 1550, son of Pieter Aertszoon (Lange Pier) [1508 – 03 Jun 1575 bur.]

^ 1577 Orazio Samachini (orr Samacchini, Sammacchini, Sammachini, Somacchini), Italian painter born on 20 December 1532. Although a student of Pellegrino Tibaldi, his early work mainly reflects the classicism of Raphael as interpreted by Bagnacavallo and the Mannerism of Innocenzo da Imola and Prospero Fontana (i). Simplicity of form, limpid colors and purity of line characterize such early works as The Marriage of the Virgin (1560). Also datable to this early period is The Mystic Marriage of St. Catherine, which unites the style and typological elements of Fontana with a highly refined use of color reminiscent of early 16th-century south Netherlandish painting. In 1563 Samacchini participated in the decoration of the Belvedere and the Sala Regia in the Vatican. This Roman experience resulted in works characterized by complicated compositional solutions and spaces teeming with lively, clearly articulated figures. The influence of Michelangelo can be seen in The Crucifixion (1568) and in frescoes depicting The Brazen Serpent and Moses Striking the Rock (1577) in Parma Cathedral. The influence of Federico Zuccaro appears in the fresco of Paolo Vitelli Driving the Venetian Army from the Casentino (1574) in the Palazzo Vitelli a Sant’Egidio, Città di Castello, while The Presentation in the Temple (1575) reflects the late work of Vasari. Certain features of the school of Parma, however, can be traced as early as 1569, for example in The Transfiguration, which shows the influence of Parmigianino, and in the later frescoes of Virtues, Prophets and Angels in S. Abbondio, Cremona, which include suggestions of Correggio. A more discreet Mannerism characterizes his last altarpiece, which depicts The Virgin and Child with Saints (1577). — LINKS — Mercury Orders Aeneas to Abandon Dido (249x178cm; 512x390pix, 64kb)

Born on a 12 June:

^ 1742 Jurriaan (or Jurriaen) Andriessen, Dutch painter who died on 31 July 1819. He and his brother Anthonie Andriessen [23 Jan 1747 – 19 Nov 1813] became successful painters, specializing in supplying painted wallpapers, which they made at their factory in Amsterdam. Jurriaan also produced work for the theater. Both brothers were active in the Amsterdam Tekenacademie; their students included some of the best-known 19th-century Dutch artists, such as Wouter Johannes van Troostwijk, Hendrik Voogd and Jean Grandjean, as well as Jurriaan’s son Christiaan Andriessen and granddaughter Cornelia Aletta van Hulst.
     From 1754 to 1758 Jurriaan was apprenticed to Antoni Elliger and from 1759 to 1760 to Jan Maurits Quinkhard. Although he produced a few allegorical history paintings, his most important work was for the Amsterdam wallpaper factories, making painted wallcoverings for manufacture, mainly for private residences. He began as an assistant to Johannes van Dregt [1737–1807] but later worked with his brother Anthonie and Izaak Schmidt [1740–1818] in his own factory. He also attended classes two evenings a week at the Amsterdam Tekenacademie, where in 1766 he won first prize and became a teacher himself. The same year he joined the Guild of Saint Luke; by 1794 he had become co-director with Cornelis Buys of the Tekenacademie.
—     Wouter Johannes van Troostwijk, Hendrik Voogd were among the students of Jurriaan Andriessen.
— (Landscape with washerwoman and herdsman) (468x740pix, 76kb)
— (Landscape with milkman's cart) (468x740pix, 82kb)
— (Landscape with boy fishing) (468x740pix, 76kb)
— (Children with a bird) (466x744pix, 50kb)
— (Shepherdesses listen to Pan playing his flute) (743x467pix, 72kb)

1677 Jean Ravoux, French artist who died in 1734.

^ 1580 Adriaen van Stalbemt (or Stalbant, Stabent, Stalbempt), Flemish painter and etcher. who died on 21 September 1662 [because he was bent and did Stabent?]. After the fall of Antwerp (1585) his Protestant family emigrated to Middelburg, but Adriaen later returned to Antwerp. His first dated work is a Landscape with Hunters (1604). In 1609 or 1610 he became a master; he trained three apprentices. In 1633–1634 he spent ten months in England, where, among other work, he painted two views of Greenwich (e.g. View of Greenwich with King Charles I, Queen Henrietta Maria, and the Court). As well as landscapes, he also painted religious, mythological and allegorical scenes and was an etcher. His oeuvre shows great stylistic variety but, because of the small number of dated works, can only with difficulty be catalogued chronologically. Some works, such as the Landscape with Fables, reveal the influence of Jan Breughel I, while some are duller in color and do not display the same meticulous brush technique. David Slaying Goliath (1618) is a collaborative work with Pieter Brueghel II, in which the figures are undoubtedly the work of van Stalbemt. One group of works previously attributed to Adam Elsheimer has now been reattributed by Andrews to van Stalbemt. The influence of Elsheimer, particularly noticeable in the composition, was presumably passed on via David Teniers, who worked for a period in Elsheimer’s studio. Van Stalbemt’s later work also reveals clear similarities to the art of Hendrick van Balen. — Portrait of Adriaen van Stalbemt by Van Dyck [1599-1641].
— The Triumph of Melancholy (30x77cm; 284x768pix, kb) _ This is one of at least four versions by Stalbemt.
— Paul and Barnabas at Lystra (440x600pix, 85kb) _ Illustrates Acts 14:8-18:
     At Lystra there was a crippled man, lame from birth, who had never walked. He listened to Paul speaking, who looked intently at him, saw that he had the faith to be healed, and called out in a loud voice, “Stand up straight on your feet.” He jumped up and began to walk about. When the crowds saw what Paul had done, they cried out in Lycaonian, “The gods have come down to us in human form.” They called Barnabas “Zeus” and Paul “Hermes,” because he was the chief speaker. And the priest of Zeus, whose temple was at the entrance to the city, brought oxen and garlands to the gates, for he together with the people intended to offer sacrifice. The apostles Barnabas and Paul tore their garments when they heard this and rushed out into the crowd, shouting, “Men, why are you doing this? We are of the same nature as you, human beings. We proclaim to you good news that you should turn from these idols to the living God, who made heaven and earth and sea and all that is in them.' In past generations he allowed all Gentiles to go their own ways; yet, in bestowing his goodness, he did not leave himself without witness, for he gave you rains from heaven and fruitful seasons, and filled you with nourishment and gladness for your hearts.” Even with these words, they scarcely restrained the crowds from offering sacrifice to them.
— Vertumnus and Pomona (1629; 501x700pix, 142kb) _ Pomona, pomorum patrona, was the Roman nymph or hamadryad (a lesser divinity) of fruit. She was wooed by many male orchard divinities, but preferred to remain unmarried. Among her suitors was Vertumnus, the versatile changer, who had charge of the change of flowers into fruit, and who could change his appearance at will. Now he was a ploughman (spring), now a fisherman (summer), now a reaper (autumn). At last he took the likeness of an old woman (winter), and went to convince Pomona to respond favorably to the love of Vertumnus. Van Stalbemt read the story in Ovid's Metamorphoses 14:622-695:
     Pomona fuit, qua nulla Latinas
inter hamadryadas coluit sollertius hortos
nec fuit arborei studiosior altera fetus;
unde tenet nomen: non silvas illa nec amnes,
rus amat et ramos felicia poma ferentes;
nec iaculo gravis est, sed adunca dextera falce,
qua modo luxuriem premit et spatiantia passim
bracchia conpescit, fisso modo cortice virgam
inserit et sucos alieno praestat alumno;
nec sentire sitim patitur bibulaeque recurvas
radicis fibras labentibus inrigat undis.
hic amor, hoc studium, Veneris quoque nulla cupido est;
vim tamen agrestum metuens pomaria claudit
intus et accessus prohibet refugitque viriles.
quid non et Satyri, saltatibus apta iuventus,
fecere et pinu praecincti cornua Panes
Silvanusque, suis semper iuvenilior annis,
quique deus fures vel falce vel inguine terret,
ut poterentur ea? sed enim superabat amando
hos quoque Vertumnus neque erat felicior illis.
o quotiens habitu duri messoris aristas
corbe tulit verique fuit messoris imago!
tempora saepe gerens faeno religata recenti
desectum poterat gramen versasse videri;
saepe manu stimulos rigida portabat, ut illum
iurares fessos modo disiunxisse iuvencos.
falce data frondator erat vitisque putator;
induerat scalas: lecturum poma putares;
miles erat gladio, piscator harundine sumpta;
denique per multas aditum sibi saepe figuras
repperit, ut caperet spectatae gaudia formae.
ille etiam picta redimitus tempora mitra,
innitens baculo, positis per tempora canis,
adsimulavit anum: cultosque intravit in hortos
pomaque mirata est 'tanto' que 'potentior!' inquit
paucaque laudatae dedit oscula, qualia numquam
vera dedisset anus, glaebaque incurva resedit
suspiciens pandos autumni pondere ramos.
ulmus erat contra speciosa nitentibus uvis:
quam socia postquam pariter cum vite probavit,
'at si staret' ait 'caelebs sine palmite truncus,
nil praeter frondes, quare peteretur, haberet;
haec quoque, quae iuncta est, vitis requiescit in ulmo:
si non nupta foret, terrae acclinata iaceret;
tu tamen exemplo non tangeris arboris huius
concubitusque fugis nec te coniungere curas.
atque utinam velles! Helene non pluribus esset
sollicitata procis nec quae Lapitheia movit
proelia nec coniunx nimium tardantis Ulixis.
nunc quoque, cum fugias averserisque petentes,
mille viri cupiunt et semideique deique
et quaecumque tenent Albanos numina montes.
sed tu si sapies, si te bene iungere anumque
hanc audire voles, quae te plus omnibus illis,
plus, quam credis, amo: vulgares reice taedas
Vertumnumque tori socium tibi selige! pro quo
me quoque pignus habe: neque enim sibi notior ille est,
quam mihi; nec passim toto vagus errat in orbe,
haec loca sola colit; nec, uti pars magna procorum,
quam modo vidit, amat: tu primus et ultimus illi
ardor eris, solique suos tibi devovet annos.
adde, quod est iuvenis, quod naturale decoris
munus habet formasque apte fingetur in omnes,
et quod erit iussus, iubeas licet omnia, fiet.
quid, quod amatis idem, quod, quae tibi poma coluntur,
primus habet laetaque tenet tua munera dextra!
sed neque iam fetus desiderat arbore demptos
nec, quas hortus alit, cum sucis mitibus herbas
nec quicquam nisi te: miserere ardentis et ipsum,
qui petit, ore meo praesentem crede precari.
ultoresque deos et pectora dura perosam
Idalien memoremque time Rhamnusidis iram!
     According to Ovid, the disguised Vertumnus goes on to tell the story (true, says Vertumnus) of Anaxarete who was turned into a statue as she watched the funeral of Iphis, to whose declarations of love she had been as unresponsive as a statue, so that, in desperation, he hanged himself. Having concluded his pleading, Vertumnus reverts to his true appearance, Pomona falls in love with him, and it ends in their marriage.
     Compare:
_ by Melzi: Pomona and Vertumnus (1520, 185x134cm)
_ by van den Eeckhout: Vertumnus and Pomona (1669, 128x104cm)
_ by Tengnagel: Vertumnus and Pomona (1617)
_ by van Everdingen: Vertumnus and Pomona (1650, 104x140cm; 478x640pix, 67kb)
_ by Flinck: Vertumnus and Pomona ( 375x394pix, 18kb _ flashzoomable)
_ by Goltzius [1558-1617]: Vertumnus and Pomona (1615, 71x101cm; 542x760pix, 67kb)
_ by Pontormo: Vertumnus and Pomona (1521, 461x990cm half-circle)
_ by Netzcher [1639 – 15 Jan 1684]: Vertumnus and Pomona (1681; 600x440pix)
_ by André Durand: Vertumnus and Pomona (1996, 152x152pix; 600x603pix, 197kb)
_ by Boucher [1558-1617]: Vertumnus and Pomona (1749; 575x896pix, 138kb _ ZOOM to 945x1000pix, 885kb)
_ by Jean Ranc [28 Jan 1674 – 01 Jul 1735]: Vertumnus and Pomona (1722, 171x119cm; 683x467pix, 50kb)

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