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changing landscape and the traditional activities of humans during each month. It is not clear whether the five missing paintings were never painted or are lost. Due to their realistic setting, these compositions carry a documentary interest. The work of Pieter
Bruegel the elder, who had painted a series of 6 on the times of the year, was influential on van Valckenborch. Lucas van Valckenborch moved away from the tradition of painting the landscape in three cascading distances that were rendered in three different colours: brown, green and blue for each receding plane. Rather he often left out the green tone for the middle distance. He also innovated the thematic scenes by developing them into genre scenes with a stronger narrative depth.
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149:, the governor of the Spanish Netherlands, hired him as his court painter. The Archduke was particularly impressed by his skills as a portrait painter. As court painter, Valckenborch, created in the Netherlands some works for the Archduke, including the designs for the Archduke's Guard and some portraits. After the Archduke lost his position as governor in 1582, the Archduke left the Netherlands and went to live in
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It is, therefore, not possible to locate many of the views he created. For instance, none of the many landscapes with furnaces and forges has ever been identified. A large portion of his landscape output was dedicated to the depiction of rocky landscapes, in which he situated ironworks or small religious or peasant scenes. Another recurring theme was that of rural entertainments such as in the
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389:) is an example of a market scene, which is also an allegory of winter. The work was likely part of a series of four dedicated to the seasons. The imagery of the market scenes can be traced back to the previous generation of painters from the Antwerp school. In the series, van Valckenborch particularly developed the tradition of art market scenes pioneered by
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298:(c. 1570, Sotheby's 6 July 2016, London lot 3), where the distant goatherd and the silhouettes of his charges seem ant-like in comparison to the vast distance, and the vertiginous perspective of the scene. This dramatic visual depiction is clearly intended as a commentary on man's place within the universe.
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full-length portraits or bust format. He also painted several miniature portraits of the
Archduke and his wife. It is clear that these portraits' role was to show the power of Archduke and to flatter his ego as he is depicted invariably in a regal and imposing position and dressed in the latest fashions.
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In their mixture of fantasy and accurate topographical details, van
Valckenborch's landscape paintings offer a view of the world and man's relationship to it. This is particularly clear in his rocky landscapes, in which the diminutive people on the winding path are reduced by the monumental cliffs.
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style of around 1580–1600. The fishmonger is shown slicing off pieces of salmon, while his wife is taking smoked fish from a hook. The fish and utensils in the foreground are the work of Flegel who was able to render the fine metal shine of the brass bucket and the grain of the wooden water bucket.
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He also painted, between 1584 and 1587, a series of large pictures depicting the labours of the months, probably on commission for
Archduke Matthias. These compositions, of which seven survive (five of which are in the Kunsthistorische Museum), present the various months of the year by showing the
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Lucas van
Valckenborch based many of his imaginary landscapes on drawings he had made directly from nature during his travels. The drawings provided a repertory of motifs, which he employed on multiple occasions. His landscape compositions, thus, often combined real places with imaginary elements.
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Archduke
Matthias is said to have engaged Lucas van Valckenborch as his court painter for his skills as a portrait painter. Many of the works he produced for the Archduke were in fact portraits, including portraits of the Archduke and his wife Sibylle von Jülich-Cleve-Berg. These portraits were
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The still lifes in many of the market scenes were the work of his assistant Georg Flegel who may also have trained with him. A snow-covered fish market scene (Royal Museum of Fine Arts
Antwerp) is another example of a market scene set in the winter. People are shown skating on the ice in the
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Lucas van
Valckenborch is mainly known for his landscapes, which depict existing and imaginary scenes. He also painted portraits for his patron Emperor Matthias. He was also a figure painter as shown in a series of nine allegories of the seasons, painted in Frankfurt from 1592.
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Valckenborch's earliest dated works are from 1567. His monogram was L / VV or LVV. Early in his career, he placed the 'L' below the two 'V's; while after 1570, he signed with the letters inverted.
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is believed to have used his topographical drawings, for instance the drawn View of Linz, for his designs for the six-volume atlas, the
Civitates orbis terrarum, published by
228:' of panoramic vistas shown from a bird's-eye viewpoint. This style of landscape painting was developed in Antwerp, in the first half of the 16th century by artists like
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in what would become one of the most prominent
Flemish families of artists. Spanning three generations, 14 artists are recorded in the family of whom his older brother
204:, but he modified this influence in a personal manner and was not a slavish copyist. His work was rooted in the same Flemish tradition, without following the newer
157:. There is no documentary evidence for this, but it is assumed he arrived in Linz, in 1582 or earlier, and stayed there until June 1582, at least. Two bills from
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Lucas van Valckenborch also included miniature portraits of himself and his friends in a number of his landscape paintings. This is the case, for instance in
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without position. It is not clear when Lucas van Valckenborch joined the Archduke in Linz. Van Mander describes the pair traveling together down the
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valley. This trip played an important role in his development as a landscape artist, working directly from nature. In 1570, the artist was in
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Alexander Wied and Hans Devisscher. "Valckenborch, van." Grove Art Online. Oxford Art Online. Oxford University Press. Web. 24 July 2016
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Name variations: Lucas van Falckenburg, Lucas van Valckenborgh, Lucas van Valckenburg, Lucas van Valkenburg, Lucas van Walckenburg
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and later by a whole range of Flemish artists. The subject of the Tower of Babel is usually interpreted as a critique of human
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Jonathan Sawday, 'Engines of the Imagination: Renaissance Culture and the Rise of the Machine', Routledge, 2007, p. 21
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Lucas van Valckenborch painted a number of market scenes, which are also distinctively tied to the four seasons. The
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Georg Flegel also painted the food and luxurious tableware in two paintings of van Valckenborch depicting banquets (
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By 1575, Lucas had returned to Antwerp, where he must have made a name for himself. Before 1579, the young
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Rocky Landscape with Travelers on a Path, with a View of a Town, Believed to be Huy, in the Valley Beyond
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and Pieter Bruegel the Elder. It was also practised by Lucas van Valckenborch's contemporaries such as
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background. Two muffled-up well-to-do women are making their purchases dressed in the typical
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where he has depicted himself on the left of the composition with his drawing tools. In the
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W. K. Zülch, 'Die Künstlerfamilie Van Valckenborch', Oud-Holland 49 (1932), pp. 221–228
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Van Valckenborch worked largely in the tradition of the so-called '
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Lucas van Valckenborch regularly returned to the subject of the
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in 1566, Lucas van Valckenborch left Antwerp with his brother
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and St Gilgen-Salzburg, H. Wiesenthal private collection).
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On 26 August 1560, he entered the painters' guild of
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The Emperor's walk in the forest, with self-portrait
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