Flemish and Italian Painting (XV-XVI Century)

The paper discusses textual and pictorial analogies in the legitimation of the hunt between Mughal India and Europe: Mughal painters used Flemish calendar landscapes of the labors of the month  to illustrate the idea that the hunt  brought the royal hunter  in close contact with his subjects so that he could dispense justice on the spot without any intermediaries. The hunt is similarly  legitimated by  the Habsburg emperor Maxiimilian I  and  in the wall paintings of Borso d'Este in Ferrara.

Decifrazione e studio degli stemmi attribuiti a due Santi facenti parte di un affastellato “teatro” che presenzia all’Incoronazione della Vergine, su un dipinto rinascimentale di scuola nordica conservato in San Pantaleone a Venezia
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Decipherment and study of the coats of arms attributed to two Saints comprising in a crowded “theater” around the Coronation of the Virgin, on a Renaissance painting of Nordic school preserved in San Pantaleone in Venice

Hendrick de Clerck (Brussels, c. 1560-1630) is a painter well known through his works mad in Brussels between 1590 and 1630. These paintings show the maturity of a painter in his compositions, knowledge of the technique and defined style that contributed to promote him as chamber painter of the Archdukes. Terlinden had suspected that Hendrick de Clerck should have had a first period of training which was unknown. This paper is about Hendrick de Clerck´s first pictorial period in Italy, using a new canvas of Hendrick de Clerck with the subject of Saint John Baptist in the wildness of private collection as vehicle to explain his style in this first period and to notice the characteristics that will grow up during his Brussels stage.