Workshop of Jan Brueghel the Younger (1601 – 1678) and Workshop of Hendrick van Balen (1575 – 1632), Flora and Putti

Workshop of Jan Brueghel the Younger (1601 – 1678) and 

Workshop of Hendrick van Balen (1575 – 1632)

Flora and cherubs

Oil on copper, 36 x 30 cm

With frame, 42,5 x 37,5 cm

A detailed study of this painting allows us to identify the workshops of two Flemish artists as the creators, that of Jan Brueghel the Younger (1601 – 1678) and that of Hendrick van Balen (1575 – 1632).

Jan Brueghel the Younger is particularly credited with the creation of the landscape, with its characteristic chromatic tones and the use of flowers and fruit, characteristic of the young man's early pictorial attempts. A member of the most famous dynasty of Flemish painters, Jan was the son of Jan Brueghel the Elder, grandson of Pieter Brueghel the Elder, and father of Abraham Brueghel. Trained by his father, Jan traveled to Milan as a young man to meet Federico Borromeo, the Elder's former patron. After a trip to Italy that took him to Rome, Naples, and Palermo, accompanied by his friend Anthony van Dick, Jan returned to Antwerp in 1625, following his father's sudden death and to inherit the reins of the workshop. Despite having taken over his father's studio, Brueghel was still working on his own pictorial style, characterized by a meticulous and precise depiction of every detail, a quality particularly evident in the depiction of the various types of flowers. Furthermore, throughout his life, he continued to collaborate with several notable painters, including Hendrick van Balen, who is credited with the winged putto in the present work, Peter Paul Rubens, and Pieter van Avont, to name a few. The images of the collaboration with van Balen give the viewer the impression that these paintings were "all of a piece," created by the hand of a single artist. The collaboration of several painters on a single painting was a typical phenomenon found in 17th-century Flemish painting. Van Balen was instrumental in the renewal of Flemish painting in the 17th century, acting as a bridge between the generations of his tutor Marten de Vos and the prodigious pupil, Anthony van Dyck. Van Balen served as the dean of the Antwerp Romanists, a fraternity of artists who had studied in Rome; Even the winged putto depicted here exudes this classical training among the ancient statues and Renaissance frescoes of the Eternal City, while maintaining a vivid Nordic sense of light, flesh, and structure. In the oil on copper under consideration, Flora, the Italic goddess of spring, is depicted sitting on the edge of a fountain. She is depicted here nude, covered only by a golden cloth and a garland of flowers encircling her long brown hair. Completing the scene are three winged putti, also depicted naked and intent on picking flowers in honor of the goddess.

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