193:) is a double portrait of two cheerful young men or adolescent boys. They are wearing fancy clothes in Italian fashion which were likely also worn by fashionable young men in 16th century Flanders. Their embrace and smiling glances show that the relationship between the two men is close. The boy in black seems to be offering his friend an apple while he looks at the viewer with a smile. The other boy looks with a smile at the boy in black. While an apple was often used as a symbol of physical love, it would be wrong to assume the painting depicts two homosexual lovers. The boys' physical likeness indicates that they are more likely brothers. Based on the symbols used throughout the painting, its subject appears to be death. Two dark owl heads peek out over each shoulder of the boy in black while a crow’s or raven's head in profile with its sharp beak pointed towards the boy in black juts out from the right side of the head of the boy in red. Both the owl and the raven are traditional symbols of death. The stone panel at the top of the picture bears the artist's initials and recalls funerary sculpture.
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Van Mander stated that
Chrispijn van den Broeck was 'a good inventor... clever at large nudes and just as good an architect'. The latter may refer to his involvement in temporary constructions and decorations during festivities in the city, such as the theatre competition called the Landjuweel held
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In 1584, van de Broeck resided in
Middelburg for a short time to escape the political and religious unrest in Antwerp. His name was last mentioned in the Guild records of 1589 in connection with a payment. His wife is mentioned as a widow on 6 February 1591. Chrispijn van den Broeck must therefore
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in the use of large, solid figures placed within a landscape. As he was a pupil of the
Romanist Frans Floris who did study in Italy he may have received the Italian influence through his master. He may also have seen prints after Italian artworks. Van den Broeck further adopted Floris technique of
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About 23 paintings are attributed to
Chrispijn van den Broeck, some of which are signed. From 16th and 17th century inventories in Antwerp van den Broeck's work is regularly mentioned, which indicates that his output must have been larger. While there is no evidence that the artist visited Italy,
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as the son of Jan van den Broeck, a painter. His family members included artists who were active in
Mechelen. His family also used the latinised name 'Paludanus'. The latinized name is based on the Latin translation ('palus') of the Dutch word 'broeck' which is part of the family name and means a
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A total of 146 drawings have been attributed with certainty to van den Broeck. Of these, 89 are designs for engravings. His earliest drawing is dated 1560. It is possible that his tendency to accentuate the contours of forms made his drawings suited as designs for prints. Whether Van den Broeck
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painters active in
Antwerp. The Romanists were Netherlandish artists who had trained in Italy and upon their return to their home countries painted in a style that assimilated Italian influences into the Northern painting tradition. Van den Broeck remained in Frans Floris' workshop until the
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and later moved to
Antwerp. He is known for his religious compositions and portraits as well as his extensive output of designs for prints. He was active in Antwerp which he left for some time because of the prosecution of persons adhering to his religious convictions.
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one of the collaborators of Floris who helped finish Floris' paintings after the master had become incapacitated due to the alcoholism in which he had sunk in his later years. According to the
Flemish contemporary art historian and artist
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Name variations: Chrispin van den Broeck, Chrispyn van den Broeck, Crispijn van den Broeck, Crispin van den Broeck, Crispyn van den Broeck, Chrispijn van den
Broecke, Crispiaen van den Broecke, Crispin van den Broeck,
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applying a brown preparatory ground underneath the main colours of his paintings. As a result his works typically display a brown hue. His palette favours pink, brown, grey and yellow tones.
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J. Duverger and M.J. Onghena, 'Enkele nieuwe gegevens betreffende beeldhouwer W. van den
Broecke alias Paludanus (1530-1580', Gentsche bijdragen tot de kunstgeschiedenis 8 (1942), p. 173-204
129:(1560 -?) became an engraver who mainly created reproductions after her father's work. Crispijn may have lived in Italy for some time, but there is no evidence of this.
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65:. He was probably trained by his father. He moved to Antwerp some time before 1555 since Chrispijn was registered as a master painter of the
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painter, draughtsman, print designer and designer of temporary decorations. He was a scion of a family of artists, which had its origins in
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himself also etched or engraved is unknown. From 1566 onwards van den Broeck started to create design drawings for publications by
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Ilja M. Veldman. "Romanism." Grove Art Online. Oxford Art Online. Oxford University Press. Web. 26 September 2019
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Van den Broeck became a citizen of Antwerp in 1559. He married Barbara de Bruyn. Their daughter
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have died sometime between 1589 and 6 February 1591, most likely in Antwerp.
104:, Chrispijn van den Broeck and Frans Pourbus completed an altarpiece for the
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De liggeren en andere historische archieven der Antwerpsche sint Lucasgilde
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Chrispijn was then working in the workshop of the leading history painter
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marsh or swamp land. He was likely a relative of the sculptor and painter
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He received a pupil named Niclaes Ficet in his Antwerp workshop in 1577.
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published in 1571. Van den Broeck also worked for print publishers
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The Triumph of Truth in an Age of Confessional Conflict
224:His designs were engraved by engravers such as
112:left incomplete at the time of Floris' death.
167:his work shows the influence of the Venetian
95:master's death in 1570. He was together with
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382:Geschiedenis der Antwerpsche schilderschool
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441:Crispin van den Broeck, 1524 – c.1590,
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314:at the museum boijmans van beuningen
275:Netherlands Institute for Art History
52:Chrispijn van den Broeck was born in
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380:Frans Jozef Peter Van den Branden,
426:Crispin van den Broeck (1524-91),
242:Descrizione di tutti I Paesi Bassi
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354:Ph. Rombouts and Th. van Lerius,
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431:, at the Royal Collections Trust
359:Volume 1, Antwerp, 1864, p. 170
90:. Frans Floris was one of the
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180:Avarice, the danger of wealth
149:in Antwerp of 1570 and 1582.
505:Flemish Renaissance painters
73:for the first time in 1555.
446:, at the Fitzwilliam Museum
215:Willem van Haecht the Elder
145:in Antwerp in 1561 and the
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384:, Antwerpen, 1883, p. 213
185:Van den Broeck's painting
510:Flemish portrait painters
271:Chrispijn van den Broeck
207:Humanae salutis monumenta
515:Flemish history painters
479:Chrispijn van den Broeck
339:Kerstiaen vanden Broecke
312:Chrispijn van den Broeck
217:and Plantin's successor
33:Chrispijn van den Broeck
428:Christ Healing the Sick
97:Frans Pourbus the Elder
81:Christ healing the sick
63:Hendrick van den Broeck
35:(1523 – c. 1591) was a
230:Jan Collaert the Elder
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127:Barbara van den Broeck
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59:Willem van den Broecke
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525:Artists from Mechelen
520:Painters from Antwerp
238:Lodovico Guicciardini
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481:at Wikimedia Commons
203:Benito Arias Montano
199:Christoffel Plantin
191:Fitzwilliam Museum
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161:Fitzwilliam Museum
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120:The last judgement
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477:Media related to
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147:Joyous Entries
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500:1591 deaths
495:1523 births
409:De Liggeren
397:De Liggeren
106:Grand Prior
489:Categories
386:(in Dutch)
361:(in Dutch)
343:(in Dutch)
328:(in Dutch)
316:(in Dutch)
278:(in Dutch)
248:References
261:Paludanus
244:(1567).
92:Romanist
54:Mechelen
41:Mechelen
273:at the
71:Antwerp
37:Flemish
28:, 1557
110:Spain
232:and
140:Work
48:Life
240:'s
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108:of
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