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203:(1550-1632), the Flemish gemologist and physician, the artist developed a close personal relationship with Rudolf and the two spent many days together engaged in conversation. The emperor would regularly visit Spranger's studio. He bestowed on Spranger the coat of arms of a liegeman in 1588 and granted him a hereditary title in 1595. In the meantime, Spranger supplied the emperor with a continuous stream of paintings of mythological scenes with nudes drawn from nature as well as propaganda pieces which extolled the virtues of Rudolf as a ruler. An example of a work combining the two elements of eroticism and propaganda is the
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209:(Kunsthistorisches Museum) which shows Bellona (the Roman goddess of war) sitting on a globe surrounded by Venus, Amor, Athene and Baccus and emblems symbolising Hungary and the Croatian river Sava. The propagandic message is that the empire is safe with Rudolf at the helm. Thanks to the emperor's patronage, Spranger became very wealthy and owned many properties by the time he died.
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Spranger also worked as a sculptor. He may have acquired his knowledge of sculpture through his collaboration with the
Flemish sculptor Hans Mont, who also worked at the Prague court. After Mont left the Prague court, Spranger appears to have worked intermittently as a sculptor for the emperor, at
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in various complex poses, with some connection to the
Emperor's esoteric Late-Renaissance philosophical ideas. His paintings are the most characteristic of the final phase of Northern Mannerism. By far the best collection is in Vienna. His drawings have great energy, in a very free technique.
52:. This style stressed sensuality, which was expressed in smoothly modeled, elongated figures arranged in elegant poses, often including a nude woman seen from behind. Spranger's unique style combining elements of Netherlandish painting and Italian influences, in particular the Roman
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Bartholomeus
Spranger was born in Antwerp as the third son of Ioachim Spranger and Anna Roelandtsinne. His father was a trader who had spent time abroad including a long stint in Rome. Showing a keen interest in drawing, he was first apprenticed with
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for two years after which he stayed on for another two years in the workshop of van Dalem. As his three masters were mainly known as landscape painters. Spranger further copied prints of
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Spranger married
Christina Müller, the daughter of a rich jeweller from Prague in 1582. His wife died in 1600 after all their children had died. This sad story is depicted in
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holds a bronze 'Achelous and
Deianeira' which is attributed to him. There is no record of any sculpture by Spranger in Rudolf II's collection.
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312:'s 2022 exhibition on art at Rudolf's court, for instance. There are three oil paintings by Spranger in the
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arrived in Prague in 1601. A terracotta relief of the 'Body of Christ
Supported by an Angel' (
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H. Duits, 'Het leven van Karel van Mander. Kunstenaarsleven of schrijversbiografie?'
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was even more keen to employ him. In 1581 he was appointed court painter and also
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Grove Art Online. Oxford Art Online. Oxford
University Press. Web. 9 March 2024
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made engravings of his paintings, spreading
Spranger's fame around Europe.
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Portrait of
Bartholomeus Spranger with an Allegory on the Death of his Wife
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The
Mercurial Emperor: The Magic Circle of Rudolf II in Renaissance Prague
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Georg Laue, Frank Matthias Kammel, Jürgen Donien, Christiane Zeiller,
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on 1 March 1565 where he worked for six weeks in the workshop of
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Spranger's paintings for Rudolf mostly depict mythological
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have examples of his prints - he featured heavily in the
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who died after only a few weeks. He finally studied with
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He worked on wall paintings in various churches. In
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415:C. Höper. "Spranger, Bartholomäus."
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457:Peter Marshall，2013, pp. 68-69
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447:(in Dutch)
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350:References
199:Just like
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