Probably painted around 1535 in the Northern Netherlands. The pansy symbolises thought (from the French 'pensée') and the skull is probably intended as a memento mori (a symbol of human frailty and reminder of death).
Follower of Jan van Scorel | A Man with a Pansy and a Skull, 1535
Maarten van Heemskerck | Wonders of the World, 1572
Maarten van Heemskerck (1498-1574) produced designs for a set of engravings, showing eight, rather than the usual seven wonders of the ancient world.
His addition to the conventional list was the Colosseum in Rome, which, unlike the others, he showed in ruins, as it was in his own time, with the speculative addition of a giant statue of Jupiter in the centre.
They were engraved by Philip Galle and published in 1572.
Maarten van Heemskerck | Mannerist painter
Maarten van Heemskerck Self-portrait in Rome, 1553
Maarten van Heemskerck (born 1498, Heemskerck, Holland-died 1574, Haarlem), one of the leading Mannerist painters in 16th-century Holland working in the Italianate manner.
He spent a period (c. 1528) in the Haarlem studio of Jan van Scorel, then lately returned from Italy. Van Heemskerck’s earliest works—“Ecce Homo” (Musée des Beaux-Arts, Ghent) and “St. Luke Painting the Portrait of the Virgin” (Frans Halsmuseum, Haarlem), both dated 1532—while adhering closely to the Romanist style of Scorel, seek to outdo it by dramatic lighting and illusionistic effects of plasticity.
Maarten van Heemskerck | Portrait of Machtelt Suijs, c.1540-1545
Dutch Mannerist painter Maarten van Heemskerck (1498-1574) lived in Rome for four years (1532-36) and was deeply affected by the city's art and antiquities.
Here, the half-length, seated figure, the tense yet elegant hands, and even the grotesque classical mask reflect the impact of that experience, while the love of meticulously represented textures is traditionally associated with northern European art.
Agnolo Bronzino | Descent of Christ into Limbo, 1552
Mixing styles of the late High Renaissance into the early Baroque period, Mannerists often depicted their subjects in unnatural forms.
Bronzino’s works have been described as “icy” portraits that put an abyss between the subject and the viewer.
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