Bartholomäus Spranger, ANTWERP 1546 - CIRCA 1611 PRAGUE
ST. DOROTHY
Oil on panel
11 1/2 by 8 1/2 in.; 29 by 21.7 cm.
Private collection
Dorothea of Caesarea (died ca. 311) is a 4th-century virgin martyr who was executed at Caesarea Mazaca. Evidence for her actual historical existence or acta is very sparse. She is called a martyr of the Diocletianic Persecution, although her death occurred after the resignation of Diocletian himself.
She was brought before the prefect Sapricius, tried, tortured, and sentenced to death. On her way to the place of execution the pagan lawyer Theophilus said to her in mockery: "Bride of Christ, send me some fruits from your bridegroom's garden." Before she was executed, she sent him, by a six-year-old boy, her headdress which was found to be filled with a heavenly fragrance of roses and fruits. Theophilus at once confessed himself a Christian, was put on the rack, and suffered death. This is the oldest version of the legend, which was later variously enlarged. More on Dorothea of Caesarea
Bartholomeus Spranger (21 March 1546 in Antwerp – 1611 in Prague) was a Flemish painter, draughtsman, sculptor and designer of prints. Working in Prague as a court artist for the Holy Roman emperor Rudolf II, he responded to his patron's aesthetic preferences by developing a version of the extreme style, full of conceits, which has become known as Northern Mannerism. This style stressed sensuality, which was expressed in smoothly modeled, elongated figures arranged in elegant poses.
Bartholomaeus Spranger
The Adoration of the Kings, c. 1595
Oil on canvas
199.8 x 143.8 cm
The National Gallery, London
The Adoration of the Magi (anglicized from the Matthean Vulgate Latin section title: A Magis adoratur) is the name traditionally given to the subject in the Nativity of Jesus in art in which the three Magi, represented as kings, especially in the West, having found Jesus by following a star, lay before him gifts of gold, frankincense, and myrrh, and worship him. The Adoration of the Magi
Bartholomeus Spranger (1546–1611)
The Lamentation of Christ, c. 1576
Original Title: Beweinung Christi
Bavarian State Painting Collections, Munich
The Lamentation of Christ is a very common subject in Christian art from the High Middle Ages to the Baroque. After Jesus was crucified, his body was removed from the cross and his friends mourned over his body. This event has been depicted by many different artists.
Lamentation works are very often included in cycles of the Life of Christ, and also form the subject of many individual works. One specific type of Lamentation depicts only Jesus' mother Mary cradling his body. These are known as Pietà (Italian for "pity") More The Lamentation of Christ
“The Lamentation of Christ” jumps out at you as if it were 3 dimensional. Unfortunately, it does not come off as such in an illustration. It is luminous and in a non-sexual way it is a very sensuous image. Spranger is a great Mannerist artist and the twisted figure of Christ is a fine example of the style. More on this painting
Bartholomeus Spranger
Noli Me Tangere, c. 1591
Oil on canvas
128.5 x 97.3 cm
Museul National de Arta al Romaniei, Bucharest
Noli me tangere, meaning "don't touch me" or "don't tread on me", is the Latin version of words spoken, according to John 20:17, by Jesus to Mary Magdalene when she recognized him after his resurrection.
The biblical scene became the subject of a long, widespread and continuous iconographic tradition in Christian art from Late Antiquity to the present. More on Noli me tangere
Bartholomeus Spranger
The Martyrdom of Saint John the Evangelist, c. 1574
Oil on canvas
150 x 120 cm
San Giovanni a Laterano, Rome
Saint John the Apostle, also called Saint John the Evangelist or Saint John the Divine (flourished 1st century ce), in Christian tradition, the author of three letters, the Fourth Gospel, and the Revelation to John in the New Testament. He played a leading role in the early church at Jerusalem.
John was the son of Zebedee, a Galilean fisherman, and Salome. John and his brother James were among the first disciples called by Jesus. In the Gospel According to Mark he is always mentioned after James and was no doubt the younger brother. His mother was among those women who ministered to the circle of disciples. James and John were called by Jesus “Boanerges,” or “sons of thunder,” perhaps because of some character trait such as the zeal exemplified in Mark 9:38 and Luke 9:54, when John and James wanted to call down fire from heaven to punish the Samaritan towns that did not accept Jesus. John and his brother, together with Simon Peter, formed an inner nucleus of intimate disciples. In the Fourth Gospel, ascribed by early tradition to John, the sons of Zebedee are mentioned only once, as being at the shores of the Sea of Tiberias when the risen Lord appeared; whether the “disciple whom Jesus loved” (who is never named) mentioned in this Gospel is to be identified with John (also not named) is not clear from the text. More on Saint John
Bartholomeus Spranger
Saint Catherine, c. c. 1584-87
Oil on panel
152 x 92 cm
Prague Castle Picture Gallery
Saint Catherine holds the sword used for her own beheading. She also stands over a Roman emperor who attempted to kill her on a spiked wheel. Likewise, Margaret stands triumphant over her enemy, a demon dragon, whom she defeated by making the sign of the cross.
Saint Catherine of Alexandria is, according to tradition, a Christian saint and virgin, who was martyred in the early 4th century at the hands of the pagan emperor Maxentius. According to her hagiography, she was both a princess and a noted scholar, who became a Christian around the age of fourteen, and converted hundreds of people to Christianity. She was martyred around the age of 18. Over 1,100 years following her martyrdom, St. Joan of Arc identified Catherine as one of the Saints who appeared to her and counselled her.
The emperor condemned Catherine to death on a spiked breaking wheel, but, at her touch, it shattered. Maxentius ordered her to be beheaded. Catherine herself ordered the execution to commence. A milk-like substance rather than blood flowed from her neck.
The Eastern Orthodox Church venerates her as a Great Martyr, and celebrates her feast day on 24 or 25 November (depending on the local tradition). In the Catholic Church she is traditionally revered as one of the Fourteen Holy Helpers. In 1969 the Catholic Church removed her feast day from the General Roman Calendar; however, she continued to be commemorated in the Roman Martyrology on 25 November. More on Saint Catherine of Alexandria
Showing a keen interest in drawing, he was first apprenticed with Jan Mandijn, where he stayed for 18 months. He finally studied with with Cornelis van Dalem for two years after which he stayed on for another two years in the workshop of van Dalem. He traveled to Paris on 1 March 1565 where he worked for six weeks in the workshop of Marc Duval. He then travelled on to Italy, where he first stayed for eight months in Milan. He then worked for three months in Parma as an assistant to Bernardino Gatti on the painting of the dome of the Santa Maria della Steccata.
Bartholomeus Spranger (1546–1611)
Jupiter and Antiope, c. 1595–97
Oil on canvas
47 1/4 x 35 in. (120 x 89 cm)
Kunsthistorisches Museum, Vienna , Austria
Jupiter and Antiope is a frequent theme in western painting and has been treated by Titian, Van Dyck, Watteau and David among others.
They are based on the story of the seduction of Antiope by the god Zeus in Greek mythology, later imported into Roman mythology and told of the god Jupiter. According to this myth, Antiope, the beautiful daughter of King Nycteus of Thebes, was surprised and seduced by Zeus in the form of a satyr. She became pregnant and bore the twins Amphion and Zethus, who later killed Nycteus' brother Lycus in revenge for his treatment of Antiope and took over the city of Thebes. More on Jupiter and Antiope
Jupiter is holding Antiope under her arm and around her breast while Antiope caresses Jupiter’s leg. This is a time long before the ideal woman became anorexic and therefore there is plenty of flesh for the artist to embellish on. More on this painting
Bartholomeus Spranger
Bacchus and Venus, c. 1597-1600
Oil on canvas
172 x 114 cm
Landesmuseum, Hannover
Venus is ascribed as the mother of the minor deity Priapus (a fertility god ) by Bacchus. According to Pausanias, the Graces were thought to be the offspring of Venus and Bacchus, but more commonly their birth is credited to Jupiter and Euynome. More on Bacchus and Venus,
Pope Pius V appointed him court painter in 1570. He was summoned to Vienna by Maximilian II, Holy Roman Emperor, who died soon after his arrival in 1576.
Bartholomeus Spranger
VENUS AND CUPID WITH MERCURY AND PSYCHE - AN ALLEGORY, c.1600
Oil on canvas
55 1⁄8 × 40 1⁄8 in. (140 × 101.9 cm.)
The Weiss Gallery
This newly discovered painting by Spranger, was almost certainly an imperial commission for Rudolf II, Holy Roman Emperor (1552 – 1612), for his Schatz and Kunstkammer at Prague Castle. Rudolf was one of the most important collectors of all time, and his remarkable gallery displayed fine paintings, objets d’art and natural wonders of the world. It comprised of four rooms accessible to Rudolf by a staircase from his private quarters, and the space was enormous for a Kunstkammer. ‘Chests of drawers were filled with drawings, medals, and gems and larger objects like sculptures and globes stood on tables... More from the Weiss Gallery
Venus and Love/ Venus and Cupid. Different tales exist about the origin of Venus and Cupid. Some say that Venus, the goddess of love and beauty, had a love affair with Mars, the god of war. Out of this relationship, Cupid was born.
Cupid has attributes from both of his parents. Like his mother he is considered to be the god of love, or more precisely, the god of falling in love. He is portrayed as an innocent little child with bow and arrows. He shoots arrows to the heart, and awakening a love that you’re powerless to resist.
Venus and Cupid are often shown in intimate poses, reflecting the unique love between mother and child. More Venus and Love
Bartholomeus Spranger (1546–1611)
Minerva Victorious over Ignorance, circa 1591
Oil on canvas
Height: 163 cm (64.1 in); Width: 117 cm (46 in)
Kunsthistorisches Museum
Minerva, Goddess of the arts and science, is at the centre of the painting. Her uncovered breasts characterise her as “sapientia lactans”, as the nourishing mother of wisdom. She has conquered the donkey-eared ignorance. However, her body posture recalls the resurrected Christ. She triumphs over dark forces and turns into the embodiment of the highest human ideals. The refined colouring and the elegant pose are both features of Rudolfinian courtly art. More on this painting
Ignorance is at Athena's feet (bottom right).
Bartholomeus Spranger (1546–1611)
Detail; Minerva Victorious over Ignorance, circa 1591
Oil on canvas
Height: 163 cm (64.1 in); Width: 117 cm (46 in)
Kunsthistorisches Museum
Maximilian II's successor Rudolf II was even more keen to employ him, and in 1581 he was appointed court painter and also valet de chambre, where he stayed until his death there in 1611. The artist developed a close personal relationship with Rudolf II and the two spent many days together engaged in conversation. The emperor bestowed on Spranger the coat of arms of a liegeman in 1588 and granted him a hereditary title in 1595. In the meantime, Spranger supplied the emperor with a continuous stream of paintings of mythological scenes with nudes drawn from nature as well as propaganda pieces which extolled the virtues of Rudolf as a ruler. Thanks to the emperor's patronage, Spranger became very wealthy and owned many properties by the time he died.
Bartholomeus Spranger (1546–1611)
Allegory of Emperor Rudolf II, c. 1592
Oil on copper
Height: 23 cm (9 in); Width: 17 cm (6.6 in)
Kunsthistorisches Museum, Vienna, Austria
An example of a work combining the two elements of eroticism and propaganda is the Allegory of the virtues of Rudolf II (See above) which shows Bellona (the Roman goddess of war) sitting on a globe surrounded by Venus, Amor, Athene and Baccus and emblems symbolising Hungary and the Croatian river Sava. The propagandic message is that the empire is safe with Rudolf at the helm.
Spranger married Christina Müller, the daughter of a rich jeweller from Prague in 1582. His wife died in 1600 after all their children had died. This sad story is depicted in Aegidius Sadeler's Portrait of Bartholomeus Spranger with an Allegory on the Death of his Wife (See below).
Spranger married Christina Müller, the daughter of a rich jeweller from Prague in 1582. His wife died in 1600 after all their children had died. This sad story is depicted in Aegidius Sadeler's Portrait of Bartholomeus Spranger with an Allegory on the Death of his Wife (See below).
Aegidius Sadeler II (Netherlandish, Antwerp 1568–1629 Prague)
Portrait of Bartholomeus Spranger with an Allegory on the Death of his Wife, Christina Muller, c. 1600
Engraving
11 3/4 x 16 9/16 in. (29.9 x 42.1 cm)
Bartholomeus Spranger (1546–1611)
The Body of Christ Supported by Angels, c. 1587
Oil on copper
33.7 x 26.6 cm
Rijksmuseum, Amsterdam
Spranger’s painting on this small copper plate is a image of compassion, or imago pietatis. It shows angels supporting the body of Christ, illuminated by heavenly light. This Man of Sorrows is presented to us almost frontally. The angel in the foreground holds a basket containing attributes associated with the passion, such as the crown of thorns and the nails used to crucify Christ. In the background the three Marys are shown making their way to the grave that they will find empty.
This painting was made for private devotion, but quickly garnered wide fame when, in 1587, Hendrick Goltzius copied it as a print that was reproduced and distributed in large numbers. More on this painting
Spranger also worked as a sculptor. Spranger appears to have worked intermittently as a sculptor for the emperor. A terracotta relief of the 'Body of Christ Supported by an Angel' (Courtauld Gallery) is by his hand. The Walters Museum holds a bronze 'Achelous and Deianeira' which is attributed to him. There is no record of any sculpture by Spranger in Rudolf II's collection.
Attributed to Bartholomeus Spranger (1546–1611)
Achelous and Deianeira, circa 1600
Bronze, patina
H: 60.2 cm (23.7 in)
Walters Art Museum, Baltimore, Maryland, United States
Deianira, Deïanira was a Calydonian princess in Greek mythology whose name translated as "man-destroyer". She was the wife of Heracles and, in late Classical accounts, his unwitting murderer, killing him with the poisoned Shirt of Nessus.
Achelous, a minor sea god that was human above the waist, was the god associated with the Achelous River, the largest river in Greece. According to Hesiod, he was the son of the Titans Oceanus and Tethys. He was also said to be the father of the Sirens, several nymphs, and other offspring.
Achelous was able to change his shape, and in the form of a bull, he wrestled Heracles for the right to marry Deianeira, but lost. More on Achelous and Deianeira
Aegidius Sadeler, who lived in his house in Prague for some time, and Hendrik Goltzius made engravings of his paintings, spreading Spranger's fame around Europe. More on Bartholomeus Spranger
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