CLERCK, Hendrik de

In 1606, Hendrik de Clerck became painter to the archducal court in Brussels. Until then he had almost exclusively produced monumental altarpieces and other devotional pictures, now he started to devote himself to painting cabinet pieces. He specialized in biblical scenes, and in particular mythological and allegorical representations for the landscapes of his fellow townsmen Jan Brueghel the Elder and Denis van Alsloot. Three of the compositions painted in collaboration with Van Alsloot bear dates between 1608 and 1611, and the landscapes in the pictures painted with Jan Brueghel the Elder can be securely dated to around 1606-09.

With the minutely finished tree and forest scenes by Brueghel and Van Alsloot, De Clerck’s enamel-like mythological nudes, graceful, and often revealing a restrained eroticism, made decorative pictures. In paintings such as the Abundance with the Four Elements, for which Jan Brueghel the Elder painted the surrounding landscape, De Clerck goes back to late Mannerist motifs. He based himself on Parmigianino’s style.

In 1606, Hendrik de Clerck became painter to the archducal court in Brussels. Until then he had almost exclusively produced monumental altarpieces and other devotional pictures, now he started to devote himself to painting cabinet pieces. He specialized in biblical scenes, and in particular mythological and allegorical representations for the landscapes of his fellow townsmen Jan Brueghel the Elder and Denis van Alsloot. Three of the compositions painted in collaboration with Van Alsloot bear dates between 1608 and 1611, and the landscapes in the pictures painted with Jan Brueghel the Elder can be securely dated to around 1606-09. With the minutely finished tree and forest scenes by Brueghel and Van Alsloot, De Clerck’s enamel-like mythological nudes, graceful, and often revealing a restrained eroticism, made decorative pictures.

In this representation of the subject, narrated by Ovid in Book III of the Metamorphoses, the figures are by Hendrik de Clerck and the forest is attributed to Denis van Alsloot.

The light enters from the bottom, by the only opening that the trees have left, and illuminates the narrated scene. As is usual in the woods of Van Alsloot, despite the drama of the story, the shapes of the trees are simple. Neither the branches twist nor the wind shake the leaves, so that the whole scene breathes calm, serenity. As for the characters, the pearly incarnations and the elegant elongated shapes and modeled with precision are characteristic of De Clerck’s Mannerism. The figures of Diana and the nymph lying on their backs to the viewer are taken from the engraving done by Jan Saenredam after the Diana and Callisto by Hendrick Goltzius, inspired in turn by Titian. The model for the figure of Acteon is the Belvedere Apollo, one of the most popular sculptures since the beginning of the 17th century.

The mythological story of Venus and Mars surprised by Venus’s husband Vulcan is a tale of passion and revenge. The beauty of Venus was irresistible: Ovid wrote in The Art of Love: “Mars, stirred by mad desire for Venus, was turned from grim warrior to lover.” Venus’s son Cupid hovers above the couple and points his arrow at their hearts. Discovering their affair, Vulcan, god of fire and the forge, sets a trap for them, and asks the other gods to judge them.

In this representation of the subject, based on the story of Susanna, found in a deuterocanonical chapter of the biblical Book of Daniel, Susanna stands naked at a fountain between the two old men. The man on the left touches her, the man on the right points to her jewelry and clothing.

In 1606, Hendrik de Clerck became painter to the archducal court in Brussels. The painter until then had almost exclusively produced monumental altarpieces and other devotional pictures, now also started to devote himself to painting cabinet pieces. he specialized in small biblical scenes, and in particular mythological and allegorical representations for the landscapes of hie fellow townsmen Jan Brueghel the Elder and Denijs van Alsloot.

Alternative title for the painting: Contest of Apollo and Marsyas in which Midas gives judgement.

This painting reveals a precise knowledge of literary sources. His epic manner of illustration makes it possible to follow the entire story. The radiant figure of Apollo is emphasized, with Pallas Athene as a patroness standing next to him. Tmolos, who was asked to be the judge, is seated in the centre; he turns toward the divine musician and waves silence to the wildly dancing Pan.

Moving towards the front, between the two of them, is the foolish king of Lydia, Midas, who in contradiction with the wise judgment, voted for the victory of Pan’s instrument. He is already wearing the ass’s ears he received from Apollo for this. In some catalogues this painting is also known as “Apollo and Marsyas”, although the artist was consistent in identifying Pan, who can be easily recognized by the goat hooves and the syrinx held in his hand. In this picture Apollo’s stringed instrument is a Renaissance lira da braccio which is played with a bow. The female figures framing the composition on the left are Muses; the water jugs are usually the attributes of Poesia. On the right we can see Pan’s escorts: satyrs and nymphs. The woman holding a trumpet is probably not Fama, the personification of fame, rather, she is simply introducing another type of wind instrument which has been scorned.

The Northern European painter placed the events of classical mythology into a romantic, mountainous setting.

The painting was executed in collaboration with Jan Brueghel the Elder.

In 1606, Hendrik de Clerck became painter to the archducal court in Brussels. Until then he had almost exclusively produced monumental altarpieces and other devotional pictures, now he started to devote himself to painting cabinet pieces. He specialized in biblical scenes, and in particular mythological and allegorical representations for the landscapes of his fellow townsmen Jan Brueghel the Elder and Denis van Alsloot. Three of the compositions painted in collaboration with Van Alsloot bear dates between 1608 and 1611, and the landscapes in the pictures painted with Jan Brueghel the Elder can be securely dated to around 1606-09. With the minutely finished tree and forest scenes by Brueghel and Van Alsloot, De Clerck’s enamel-like mythological nudes, graceful, and often revealing a restrained eroticism, made decorative pictures.

In this painting the figures are by Hendrik de Clerck and the landscape is by Denis van Alsloot. In the foreground the personifications of the Four Elements, Air, Fire, Water and Earth, are represented with their corresponding attributes. Behind them three key moments of the biblical story are depicted: Creation of Eve, Eve offering the apple to Adam and Expulsion of Adam and Eve from Paradise. In heaven the figure of God the Father is shown surrounded by angels. There is another version of the painting (Alte Pinakothek, Munich), signed by both painters.