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335:, the Roman goddess of agriculture, grain crops, fertility and motherly relationships, has been proposed. The reason is that the goddess in the medallion has none of the attributes traditionally connected with Cybele. Around the medallion is suspended a garland of flowers, vegetables and fruit – a tribute to the goddess and an ode to plenty and fertility. Van Balen painted the medallion while Brueghel painted the abundant garland, the surrounding figures and the numerous animals.
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in The Hague. Both versions are considered to be autograph paintings, but small differences between the two suggest that the panel in the
Belfius collection is the original version. The medallion in the centre is traditionally believed to depict Cybele, the ancient Phrygian goddess of the earth and
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Hendrick van Balen was born in
Antwerp. The date of his birth is not known but was likely 1573 as the birth records of the St George Church of Antwerp for that year are missing. His parents were the merchant Willem van Balen and Machteld van Alten. His family was well-off and thus able to let
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While he had a clear preference for the smaller scale in his later career, van Balen's early works consisted of a number of large altarpieces. These show the influence of his teacher Adam van Noort. His later altarpieces, with their rich and subtle palette, appear to have been painted after van
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Dyck's arrival in his studio. Hendrick van Balen's mythological and biblical scenes were usually painted on small plates or copper plates. His works often included nude figures in a mythological or religious scene, set in an idyllic setting. Van Balen further also painted landscapes.
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often painted on a copper support. His favourite themes were mythological and allegorical scenes and, to a lesser extent, religious subjects. The artist played an important role in the renewal of
Flemish painting in the early 17th century and was one of the teachers of
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court (then the rulers over the
Southern Netherlands) and in Antwerp generally. Garland paintings were usually collaborations between a still life and a figure painter. The genre was initially connected to the visual imagery of the
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Hendrick van Balen played a role in the development of the genre of garland paintings, which typically show a flower garland around a devotional image or portrait. Together with
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often painted on a copper support. His favourite themes were mythological and allegorical scenes and, to a lesser extent, religious subjects. He also created a number of
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Van Balen led for over 30 years a successful workshop and had many pupils. He was the teacher of his son Jan van Balen as well as of leading
Flemish painters
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In 1605 Hendrick van Balen married
Margriet Briers (or 'de Brier') in Antwerp. The couple had 11 children and three of their sons became painters:
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Garland of Fruit surrounding a
Depiction of Cybele Receiving Gifts from Personifications of the Four Seasons, ca. 1620-1622
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in 1592–1593 at the age of 17. In 1608–1609 he was the second dean of the Guild and in 1609–1610 he was the first dean.
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David
Freedberg, "The Origins and Rise of the Flemish Madonnas in Flower Garlands, Decoration and Devotion",
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Garland of Fruit surrounding a
Depiction of Cybele Receiving Gifts from Personifications of the Four Seasons
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Garland of Fruit surrounding Cybele
Receiving Gifts from Personifications of the Four Seasons
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Garland of Fruit surrounding Cybele Receiving Gifts from Personifications of the Four Seasons
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Seventeenth-Century Flemish Garland Paintings. Still Life, Vision and the Devotional Image
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An example of a collaborative garland painting he made with Jan Brueghel the Elder is the
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nature as it was described as such in 1774 when it was catalogued in the collection of
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Another collaborative effort on a garland painting, this time with still life painter
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The genre of garland paintings was inspired by the cult of veneration and devotion to
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Grove Art Online. Oxford Art Online. Oxford University Press. Web. 23 November 2016
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A garland of flowers and fruit with a central cartouche depicting the Holy Family
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A garland of flowers and fruit with a central cartouche depicting the Holy Family
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Hendrick have a good training which included the study of a number of languages.
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Hendrick Van Balen (1575–1632). Ein Antwerpener Kabinettbildmaler der Rubenszeit
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261:, Boughton House, Northamptonshire, UK; and 1634–1635, private collection).
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Dutch & Flemish Paintings: The Collection of Willem Baron Van Dedem
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De groote schouburgh der Nederlantsche konstschilders en schilderessen
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in The Hague. More recently an identification of the goddess with
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while Foppens van Es painted the garland of fruit and flowers.
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551:(possibly a workshop copy) is in the collection of the Prado.
498:(Boughton House) at the Netherlands Institute for Art History
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From about 1595 to 1602 he studied art while traveling in
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Van Balen often collaborated with other artists such as
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Anthony van Dyck made a few portraits of his master: a
61:designer. Hendrick van Balen specialised in small
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692:Flemish stained glass artists and manufacturers
250:, a series of prints of famous people, and two
585:Jan Brueghel (I) and Hendrick van Balen (I),
631:at the Netherlands Institute for Art History
314:of which there are two versions, one in the
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391:Geschiedenis der Antwerpsche schilderschool
378:Carl Van de Velde. "Balen, Hendrik van, I."
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138:. His daughter Maria married the painter
563:Anne T. Woollett, Ariane van Suchtelen,
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190:Hendrick van Balen specialised in small
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125:The mystical marriage of St Catharine
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142:. In 1613 he accompanied Rubens and
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389:Frans Jozef Peter Van den Branden,
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146:on a diplomatic mission to the
510:Portrait of Hendrick van balen
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495:Portrait of Hendrick van balen
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350:Musée des Beaux-Arts d'Orléans
136:Hendrick van Balen the Younger
16:Flemish painter (c. 1574–1632)
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290:, with Jan Brueghel the Elder
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225:and the Younger, and Rubens.
288:Venus in the Forge of Vulcan
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539:, xxxii, 1981, pp. 115–150.
483:at the J. Paul Getty Museum
329:William V, Prince of Orange
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549:A very similar composition
406:Henrik van Balen biography
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92:Van Balen was a pupil of
682:Flemish history painters
677:Flemish Baroque painters
134:, Gaspard van Balen and
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651:Hendrick van Balen (I)
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653:at Wikimedia Commons
610:2 April 2015 at the
573:J. Paul Getty Museum
340:Jacob Foppens van Es
244:J. Paul Getty Museum
140:Theodoor van Thulden
41:Hendrick van Balen I
575:, 2006, pp. 156–165
305:Counter-Reformation
240:black chalk drawing
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428:Peter C. Sutton,
298:prevalent at the
278:Federico Borromeo
265:Garland paintings
152:Hendrick Goltzius
150:. Here they met
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616:Mauritshuis
467:(in German)
465:at Brepols
460:B. Werche,
324:Mauritshuis
259: 1630
661:Categories
449:(in Dutch)
395:(in Dutch)
360:References
307:movement.
215:Jan Tilens
154:and other
354:cartouche
252:grisaille
198:designs.
158:artists.
608:Archived
320:a second
300:Habsburg
275:cardinal
614:in the
590:at the
444:at the
322:in the
186:General
156:Haarlem
55:painter
52:Baroque
49:Flemish
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416:, 1718
171:Rubens
565:et al
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109:Italy
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318:and
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181:Work
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Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
_-_Bacchus_and_Diana.jpg)
