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178:(At Hampel on 1 July 2015 in Cologne lot 705). In this work Adriaenssen achieves a vivid portrayal of a cavalry engagement on a bridge. The numerous horses and riders in the scene have dynamism and a striking gesture as if they had been artificially brought to a standstill in their movement.
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Christiane de
Aldecoa, 'Vincent Adriaenssen Leckerbetien dit il Manciola ou le Manchole: Anvers 1595 - Rome 1765 ; un peintre connu mais oublié', in: Bulletin de l'Association des Historiens de l'Art Italien, nr. 7, October 2001, p.
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It is believed that he received his first art training from his brother
Alexander. He is traceable in Rome from 1625 to about 1645. He worked also on projects in Paris from 1642 to 1645 and then again in 1648 where he worked for
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who was active in Rome married
Vincent's daughter Agnes Vincentii (died in Rome on 19 April 1684). Adriaenssen was also Jan de Momper's early mentor in Rome. Adriaenssen is sometimes confused with the painter
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32:(name variations: Vincent Adriaensz, Vincent Adriani, Vincenz Leckerbetien, Vincent Leckerbeetjen, nicknames: le Manchole, Il Manciola, Il Manciolla en Il Mozzo di Anversa) (1595–1675) was a
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Vincent
Adriaenssen was a very productive battle painter. This genre was very popular around the middle of the 17th century in Rome. His style situates itself between that of the late
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who spent an important part of his career in Paris and Rome where he was especially renowned for his landscapes with battles and hunting scenes.
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There are indications that he was missing his right arm and right hand from around 1663. This explains his French and
Italian nicknames
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and his younger brother
Niclaes Adriaenssen was a portrait painter. He later became the father-in-law of the painter Jan de Momper.
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and the more
Baroque touch of Rubens and the Baroque innovations of the leading battle painter in Rome, the Frenchman
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hero Gerard van
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Vincent
Adriaenssen died in Rome, aged about 80. He was the teacher of
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234:Vincent Adriaenssen,
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