Where to See Erasmus Quellinus II

Erasmus Quellinus II's work can be found in numerous collections, both public and private. In the United States, his art is held at the Detroit Institute of Arts (which possesses Diana and Endymion, and The Holy Family), the Wadsworth Atheneum in Hartford (which holds The Crucifixion), the Nelson Gallery-Atkins Museum in Kansas City (which has The Triumph of Bacchus, a copy after Poussin), the John and Mable Ringling Museum of Art in Sarasota (which holds The Ecstasy of St Paul, and The Holy Family with St John), the Fine Arts Museums of San Francisco (which possesses The Adoration of the Golden Calf), and the National Gallery of Art^[1] in Washington, D.C. (which holds The Assumption of the Virgin, and The Holy Family on the Steps). In Europe, Quellinus's art can be seen at the National Gallery of Ireland in Dublin (which has Acis and Galatea, and The Holy Family with Ten Figures), the National Gallery of Scotland in Edinburgh (which holds The Feast of the Gods), and the Hermitage Museum in Leningrad (which possesses The Deposition, Esther Before Ahasuerus, Four Putti and Two Dogs, and The Holy Family in Egypt).

Erasmus Quellinus II, born in Antwerp in 1607, came from a family of artists. While the specifics of his training are unknown, it is thought he may have studied with Peter Paul Rubens. He became a master in the Guild of St Luke in 1633-34. Quellinus is known for his close collaboration with Rubens, particularly regarding book illustrations for Balthasar Moretus's Plantin Press, starting around 1637. Rubens would provide instructions on iconography and layout, but gave Quellinus freedom in drawing the modelli for these prints. Quellinus also designed separate engravings based on Rubens's ideas, not connected to the Plantin Press. Beyond his work for Moretus, Quellinus also produced etchings. One example is his etching of Samson Fighting the Lion, after Rubens, dating from after 1631. He also made preparatory drawings for woodcuts by Christoffel Jegher, such as a portrait of Cardinal-Infante Ferdinand of Spain, a partial copy of a Rubens work. After Rubens's death, Quellinus assumed Rubens's role as Antwerp's leading painter. He continued designing public decorations, maintaining the style established by Rubens.

Erasmus Quellinus II (1607-1678) was an Antwerp painter from a family of artists. His father, Erasmus Quellinus I, was a sculptor. His son, Jan-Erasmus Quellinus, was also a painter. Quellinus trained with Jan Philip van Thielen, and later with Rubens. He became a master of the Antwerp Guild of Saint Luke in 1633. He is known for history paintings and collaborations with other artists, including sculptors. The importance of artists like Quellinus lies partly in their diligence and skill. Netherlandish artists distinguished themselves through solid training and diverse production. This ethic was inherent to their art; diligence, labour, experience, and industry were all valued. Some artists transformed their homes into showcases for their artistic theories. Cornelis van Dalem decorated his house with sculptures of Minerva and Mercury, plus a relief of Pictura (Painting). This reflects an awareness of Antwerp’s artistic heritage. The publication Pictorum aliquot celebrium Germaniae Inferioris (1572) presented a history of Netherlandish art through artist portraits. It celebrated the diversity of Netherlandish art and the artists' stewardship of their heritage.

Erasmus Quellinus II (1607-1678) was a Flemish painter, draughtsman and printmaker. He came from a family of artists, including his father, Erasmus Quellinus I, and his brother, Artus Quellinus. Quellinus trained with Jan Roos and was admitted to the Antwerp Guild of Saint Luke in 1633-1634. He is known for history paintings and portraits, as well as his collaborations with other artists, such as Peter Paul Rubens. Quellinus often worked on large-scale decorative programmes. These included paintings for the Jesuit Church in Antwerp and the Town Hall of Amsterdam (now the Royal Palace). For these projects, he often supplied oil sketches, which other artists then scaled up to the final paintings. His style is characterised by its classicising tendencies, influenced by Nicolas Poussin and contemporary French painting. As a printmaker, Quellinus produced designs for book illustrations and reproductive engravings after his own paintings and those of other artists. These prints helped to disseminate his work and that of his contemporaries to a wider audience.

Erasmus Quellinus II (1607-1678) was an important figure in 17th-century Flemish painting. He is known for his history paintings and his collaborations with other artists. Quellinus had a substantial impact on the artistic community around him. Jan van den Hoecke was one of his pupils. Van den Hoecke later became court painter to Archduke Leopold Wilhelm. Another pupil was Guilliam Forchondt. Quellinus's influence extended to his own family. His son, Jan Erasmus Quellinus, also became a painter. Jan Erasmus worked in a similar style to his father. Several of Erasmus's brothers were also artists, including the sculptor Artus Quellinus. Beyond direct pupils, Quellinus's classicising style affected many artists in Antwerp. His work contributed to the development of Flemish Baroque painting. His compositions and use of colour were studied and emulated by younger artists seeking to create dramatic, emotive works. His studio was a place where artistic ideas were exchanged.

Erasmus Quellinus II (1607-1678) came from a family of artists. His father, Erasmus Quellinus I, was a sculptor. Erasmus II, however, trained as a painter. Peter Paul Rubens exerted a strong influence on Quellinus. He became one of Rubens's assistants and principal collaborators. Quellinus's connections to Rubens gave him access to important commissions. After Rubens's death, Quellinus completed some of his unfinished projects. Quellinus also absorbed influence from other contemporary artists. These included Anthony van Dyck and Jacob Jordaens. All three artists painted in the Flemish Baroque style. Quellinus's exposure to classical art and Italian painting also shaped his artistic development. His work displays a synthesis of these diverse influences, filtered through his own artistic sensibility. He became one of the leading painters in Antwerp.

Erasmus Quellinus II (1607-1678) was a Flemish painter from Antwerp. He came from an artistic family; his father, Erasmus Quellinus I, was a sculptor. His son, Jan Erasmus Quellinus, also became a painter. Quellinus II is not known for one single, universally recognised "most famous work". He produced a large body of paintings, and collaborated with other artists, including Peter Paul Rubens. He is well known for history paintings and his contributions to decorative programmes in Antwerp. One significant project was his involvement in the decorations for the Joyous Entry of Cardinal-Infante Ferdinand in Antwerp in 1635. Rubens oversaw this project, and Quellinus II contributed several pieces. Another important commission was for the decoration of the Amsterdam Town Hall (now the Royal Palace) in the 1650s. Quellinus II created several paintings for this building, working with Artus Quellinus (a cousin) and others. These paintings illustrate scenes from the history of Amsterdam and classical allegories. His work in the Amsterdam Town Hall is a significant example of Dutch Classicism.

Erasmus Quellinus II was part of the Baroque movement, which broadly spanned circa 1600 to 1700. The Baroque style followed Mannerism and is thought to originate from the Portuguese term for an imperfect pearl, 'barocco'. It is defined by its infusion of emotion, dynamism, and drama, often achieved through strong tonal contrasts. Religious tensions in Europe contributed to the development of Baroque, which aimed to reinforce Catholicism. The Council of Trent (1545-1563) influenced this artistic direction, advocating for religious art that encouraged piety through clarity, accuracy, realism, and logic. Emerging in Italy, the Baroque style spread to other European countries, including France, Germany, the Netherlands, Spain, and Britain. While adhering to common styles and techniques, Baroque artists also expressed their individuality. Their work is often exuberant and intense, featuring solid figures and dramatic narratives. Baroque inherited movement and emotion from Mannerism, while adopting solidity, perspective and classical lines from the Renaissance.