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201:. From there he returned to Florence in 1650 where he resided until 1653. That year he worked in Ferrara, Modena and Mantua. In the fall of 1654 he was back in Modena and in 1654 in Genoa. In the period from 1654 to 1681 he spent most of his time in Florence. He worked in 1656 in Mantua and Modena and at the end of that year and the next year in Innsbruck. While in Austria he may have visited his brothers Matthias, a court musician, and Cornelis, a painter. He worked again in Modena from June to October 1659. He may have worked for some time in Spain.
339:(Uffizi Museum). It was commissioned by Elia Diodati, a jurist who lived between Paris and Geneva and was a good friend of Galileo. After Galileo's death, he donated the portrait to the Grand Duke Ferdinand II. The portrait is a half bust showing Galileo's face on which the light source falls and looking upwards outside the frame. At the time of the painting, Galileo was around 70 years old. The work is executed in a thickly painted texture similar to 16th-century Venetian painting. The presence of
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daughter
Vittoria. His son died in 1663. He married Maddalena Artimini in 1664 with whom he had another son and daughter. His nephew Giovanni Vangheldri (Jan van Gelder) (active 1651-1675), a son of his sister Clara Sustermans and merchant Johannes van Gelder, was a prominent portrait artist for the Dukes of Modena and Counts of Novellara. He likely joined his uncle Justus in Modena in 1649.
135:, who was Emperor Ferdinand II's future wife, of Caterina de' Medici, Duke Ferdinando Gonzaga's wife, and a miniature portrait of Caterina de' Medici. On 5 January 1622, he delivered his first surviving documented work for the Medici, a portrait of Maria Maddalena of Austria, the widow of Grand Duke Cosimo II (now in the
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attention to precious details as well as its hard modelling. Sustermans did not share the
Flemish preference for concentrating on the details of the sitters' clothes and rather favored a monumental simplicity in form. In Italy his style started to reflect the contact with Florentine painters such as
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He rarely dated his works, which makes it difficult to establish a chronology. His works have been dated mainly by relying on the apparent age of identified sitters. His early portraits show the influence of his master Frans
Pourbus the Younger whose courtly portrait style was known for accentuating
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to be raised to the nobility. He explained in the letter that he and his brothers had been called from
Florence to put their art in the service of the Emperor. The Emperor elevated the brothers Sustermans, including a brother called Matthias not mentioned in Justus' letter, to the nobility in 1624.
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invited in 1620 a team of
Flemish and French tapestry weavers from Paris to Tuscany, Suttermans joined them. The party likely reached Florence in October 1620. On 20 April 1621 he is first documented in Florence when the Compagnia dei SS Barbara e Quirino paid him for a painting of Saint Barbara. He
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As the Medici had many family connections with other courts in northern Italy and
Austria, Sustermans often travelled to other cities in Italy as well as to Vienna. In 1620 to early 1621 he was active in Mantua, where his master Pourbus had been a court painter at the beginning of the century. He
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He traveled to Rome with his brother Frans, where in 1627 he painted portraits of Pope Urban VIII and most of the cardinals at the
Vatican. Other travels included a 1639 stay at the Farnese court in Parma where he would have seen the work of Correggio. He was in 1639–40 in Piacenza. In 1640 he
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Sustermans was a gifted animal painter. In the mid-50s there was a dip in the quality of his output. The reason behind this may have been an increased dependence on his workshop, either because
Sustermans was regularly travelling or because of the Grand Duke's imposition of standard prices for
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Sustermans married three times. He married first
Dejanira di Santi Fabbretti, originally from Pisa. She died in August 1628 at the birth of their only son Carlo who later became a priest. In 1635 he married Maddalena di Cosimo Mazzocchi, from which union were born a son Francesco Maria and a
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During his years in Vienna in 1623 and 1624 he painted in a more painterly style which possibly was under the influence of the works of Hans von Aachen and Josef Heintz. Later, his work became more
Baroque, under the influence of Flemish painters such as Rubens,
224:, Valerio Marucelli, Francesco Bianchi Buonavita and Giovanni Lionardo Henner. These assistants likely painted the secondary details in his portraits. The important role played by the workshop in his output had a negative impact on his posthumous reputation.
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is first recorded in the service of the Medici in October 1621. Suttermans gained this court appointment on the strength of a portrait of one of the tapestry weavers, a painting identified as a portrait of Pietro Févère or Ebert d'Egidio van Asselt.
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220:(Florence, Pitti Palace) for his own collection. He operated a large workshop which produced many copies and variations of his paintings. Some of the collaborators in his workshop established a name for themselves including the brothers
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in Florence from 1637 may have been another element in his stylistic evolution. From the mid 1640s he returned to his earlier handling of surfaces, with sharp contrasts between light and shadow. An example is the full-length
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Brussels). In 1623 and 1624 he worked in Vienna on commissions from the Holy Roman Emperor Ferdinand II. He wrote a letter to the Emperor pleading for him and his brothers Jan, Nicolaes, Frans, Vincent and
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anything other than full-length portraits. In the 1660s and 1670s his brushwork became more restrained and he often placed his figures against a dark background with rapid expert touches of highlight.
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invited him to Vienna to paint portraits of the Imperial family and granted Sustermans and his brothers patents of nobility. During his lifetime he was fĂŞted as the finest portrait painter in Italy.
323:(Galleria Palatina) shows the influence of Rubens. His mature style of the 1630s is characterised by its loose and expressive brushwork and lighter palette. The works of the Venetians such as
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His brother Jan may have assisted with some of the portraits of the imperial family that Justus painted in Vienna. He returned to Florence by 17 February 1625, when he enrolled in the
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for Giancarlo. Here he would have seen van Dyck's portraits of Genoese patricians. He returned to Modena in November where he may have seen Velázquez'
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Flemish Tapestry Weavers Abroad: Emigration and the Founding of Manufactories in Europe: Proceedings of the International Conference Held at Mechelen
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Maria Maddalena of Austria, Wife of the Grand Duke Cosimo II de' Medici and Sister of the Emperor Ferdinand, with her son, the Future Ferdinand II
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Notizie dei professori del disegno da Cimabue in qua per le quali si dimostra come, e per chi le belle arti di pittura, scultura e architettura
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He became friends with Rubens and van Dyck and maintained regular correspondence with them. He commissioned from Rubens in 1638 the painting
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Sustermans is mainly known for his portrait paintings. He also painted a number of history and genre paintings, still lifes and animals.
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painter and draughtsman who is mainly known for his portraits. He also painted history and genre paintings, still lifes and animals.
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as the son of the tailor Frans Suttermans or Sustermans, originally from Bruges, and Esther Scheepmans. Justus was baptised in the
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may have led to his lighter palette in the 1630s. Suttermans was for seven years in possession of Titian's
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333:(Florence, Pitti), which was in the collection of the Medici. This work may have inspired his famous
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Maria Maddalena of Austria (Wife of Duke Cosimo II de' Medici) with her Son, the Future Ferdinand II
665:, 2–3 October 2000, Koninklijke Manufactuur van Wandtapijten, Leuven University Press, 2002, p. 165
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677:, in: Oud-Holland 23 (1905), p. 1-26, 108-128, 25 (1907), p. 9-26, esp. 23 (1905), p. 6-9
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De liggeren en andere historische archieven der Antwerpsche sint Lucasgilde van 1453–1615
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105:. He left Antwerp for Paris in 1616, where he spent about two years in the workshop of
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Vincenzo II Gonzaga, Ruler of Mantua from 1587–1612, Wearing the Order of the Redemeer
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Portrait of the Grand Duke Ferdinando II of Tuscany and his Wife Vittoria della Rovere
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167:. He returned to Florence. He traveled to Rome in 1645 in the following of Cardinal
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The cloakroom of the Villa di Pratolino with hunters and cooks of the Medici family
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Gli artisti italiani e stranieri negli stati estensi catalogo storico ...
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Portrait of Domenica delle Cascine, la Cecca di Pratolino and Pietro Moro
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The Senators of Florence swearing Allegiance to Ferdinando II de’Medici
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Portraits of Vittoria della Rovere with the young Cosimo III de Medici
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774:, The Burlington Magazine Vol. 119, No. 886 (Jan., 1977), pp. 37-40
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179:. He was in Modena from June 1649 where he worked at the court of
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Portrait of Orazio Piccolomini, three-quarter-length, with a dog
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Sustermans is chiefly noted for his portraits of members of the
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on 28 September 1597. He was in 1609 registered as a pupil of
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CulturalHeritage.cc Foundation, Accessed 8 October 2013.
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Suttermans (Susterman; Sustermans; Sutterman), Giusto
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in the National Gallery of Art Systematic Catalogue
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Flemish paintings in the Metropolitan Museum of Art
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320:Portrait of Prince Waldemar Christian of Denmark
165:Diego Felipez de Guzmán, 1st Marquess of Leganés
285:, 1623) shows his familiarity with the work of
624:, J. E. Buschmann, Antwerp, 1872–1876, p. 457
275:(private collection, before early 1623). His
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545:. New York: The Metropolitan Museum of Art.
209:Equestrian portrait of Ferdinando de' Medici
604:Geschiedenis der Antwerpsche schilderschool
124:Cosimo II de' Medici, Grand Duke of Tuscany
698:, Volume 4, V. Batelli, 1846, pp. 473-488
478:The family of Darius in front of Alexander
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392:Portrait of a Lady Wearing Pearls
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292:Portrait of Christine of Lorraine
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197:, 1638). In Modena he also met
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713:By Giuseppe Campori, pages 477.
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606:, Antwerpen, 1883, pp. 960–962
131:painted in Mantua portraits of
75:Holy Roman Emperor Ferdinand II
85:Justus Sustermans was born in
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758:Portrait of Galileo Galilei
535:Liedtke, Walter A. (1984).
412:Portrait of Galileo Galilei
336:Portrait of Galileo Galilei
117:Portrait of Galileo Galilei
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588:Lisa Goldenberg Stoppato,
330:Portrait of Pietro Aretino
222:Valore and Domenico Casini
190:Portrait of Duke Francesco
95:Willem (or Gilliam) de Vos
828:Flemish portrait painters
432:National Museum of Serbia
175:and members of the Doria
107:Frans Pourbus the Younger
97:(a nephew of the painter
833:Flemish history painters
823:Flemish Baroque painters
416:National Maritime Museum
366:, aged between 16 and 18
163:worked in Milan for Don
484:, Vilanova i la GeltrĂş)
388:, Pasadena, California)
283:Flint Institute of Arts
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428:Portrait of a Woman
422:Portrait of Galileo
386:Norton Simon Museum
267:Domenico Passignano
185:Maria Anna of Spain
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341:Pietro da Cortona
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489:References
354:, 1646).
173:Innocent X
44:Suttermans
447:, London)
408:, Oxford)
406:Ashmolean
466:, Milan)
436:Belgrade
233:Florence
199:Guercino
142:Cornelis
725:at the
515:at the
396:Ukraine
317:. His
87:Antwerp
73:. The
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325:Titian
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48:Giusto
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