SELLAER, Vincent - b. 0 Mechelen, d. ~1544 Mechelen - WGA

SELLAER, Vincent

(b. 0 Mechelen, d. ~1544 Mechelen)

Flemish painter who lived in Flanders in the 16th century, and specialized in the painting of nude women, such as Cleopatra, Suzanna, Leda and Judith. Van Mander referred to a painter in Mechelen named Vincent Geldersman who painted a half-length figure of Leda, a Susanna, a Cleopatra with the asp and ‘other such things of which very many copies are to be seen’. Contemporary inventories confirm the identification of Geldersman with Sellaer. It is probable that two, possibly three, generations of painters bore the name and are traceable in the documentation.

Nevertheless, scholars have determined that Sellaer seems to have been the foremost painter in Mechelen, and his patrons probably belonged to the court and the city’s Great Council. He occupies a unique place in Netherlandish art of this period, as the monumentality of form which he achieved was almost unprecedented. His ability to seamlessly fuse both northern and Italian sources was the key to the success of him and his workshop.

Allegory of Charity
Allegory of Charity by

Allegory of Charity

The unmistakable Italian influences in Sellaer’s work are partly a result of the Leonardesque style popular amongst Flemish artists at the time, among them Joos van Cleve, and partly due to a presumed trip to Italy where he would have come into contact with the work of Raphael and the Florentine Mannerists. In the present painting the influences of Leonardo and Bronzino are evident.

Charity
Charity by

Charity

Sellaer drew on compositions by Leonardo da Vinci, echoes of whose Leda and the Swan are apparent in this naked figure of Charity.

Leda with Swan and Children
Leda with Swan and Children by

Leda with Swan and Children

Susanna and Elders
Susanna and Elders by

Susanna and Elders

The Holy Kinship
The Holy Kinship by

The Holy Kinship

Watching over the Virgin and child are the figures of St Joseph and St Elizabeth. The presence of St Elizabeth suggests that one of the three other infants may be her son St John the Baptist, most likely the boy dressed in green standing closest to Christ. The other two infants are likely to be cousins of Christ, although their exact identities cannot be identified due to the lack of attributes.

The theme of The Holy Kinship was one of Sellaer’s favoured subjects, and one which he depicted on several occasions. Some depictions have almost identical compositions to the present work.

Virgin and Child
Virgin and Child by

Virgin and Child

Of the generation of Italianicizing artists, Sellaer was, with Michiel Coxcie, the principal artist in Mechelen in the mid-16th century, although his stylistic connections were with artists elsewhere, especially in Bruges, and in particular Pieter Pourbus.

Feedback