Oil Paintings - Sub Category Artworks, Prints And Paintings - Category
A rare late sixteenth-century painting on board featuring a self-portrait of Hans von Aachen (1552–1615). Although the original composition is famously by Hans Von Aachen, this example is believed to be a period copy executed by a student or follower during the artist’s lifetime. Scene: In the Late Renaissance humanist tradition, wine was regarded as a divine gift, capable of providing comfort even to troubled souls. Von Aachen’s self-portrait reflects this idea, presenting wine not simply as a source of pleasure, but as a restorative, almost sacred gift capable of easing worldly cares. Hans von Aachen (1552–1615) Hans von Aachen was a German painter and one of the leading representatives of Northern Mannerism. A versatile and prolific artist, he worked across a wide range of genres, including princely and aristocratic portraiture, religious subjects, mythology and allegory. He became particularly celebrated for his sophisticated figure painting and mythological compositions, which found an enthusiastic patron in Emperor Rudolf II. Von Aachen also produced intimate genre scenes, often depicting small groups of figures laughing, drinking or engaged in playful encounters. He appears to have used himself and his wife as models for a number of these works. Typically working on a relatively small scale, he produced numerous cabinet paintings, including works executed on copper. His career reflects the remarkable exchange of artistic ideas between Northern, Southern and Central Europe during the late sixteenth and early seventeenth centuries. Trained in the Netherlandish Renaissance tradition, von Aachen travelled to Italy in 1574 and remained there for approximately fourteen years, working principally in Venice. He returned to Germany in 1587 and settled in Munich before eventually moving to Prague, where he spent the final years of his life. Von Aachen's distinctive style combined the realism and close observation of his Netherlandish training with the elegance, colour and Mannerist influences he encountered in Italy. His career at major European artistic centres, together with the circulation of prints after his compositions, established an international reputation that he enjoyed during his own lifetime. This combination of influences makes von Aachen an important figure in the transmission of Renaissance and Mannerist artistic ideas across Europe at the turn of the seventeenth century. Seal: A red wax armorial seal bearing a centrally placed shield divided horizontally into two fields. The upper field contains a group of three emblematic or tool-like devices, one possibly a hammer or pick, set against a dotted ground; the lower field depicts a prominent rocky mount or group of rocks. The shield is framed by elaborate drapery, gathered and tied above, and flanked by standing allegorical figures or supporters. The figure to the right may represent Mercury, although this identification remains uncertain. To the left is a tall staff-, column- or implement-like object with indistinct decoration or lettering. The entire achievement rests above a curved ribbon or scroll-like element. The seal appears secular rather than ecclesiastical and may represent a personal, familial, commercial or ownership mark. Without frame: 47.5cm x 64cm. Frame: 68.5cm x 83cm.
A rare late sixteenth-century painting on board featuring a self-portrait of Hans von Aachen (1552–1615). Although the original composition is famously by Hans Von Aachen, this example is believed to be a period copy executed by a student or follower during the artist’s lifetime. Scene: In the Late Renaissance humanist tradition, wine was regarded as a divine gift, capable of providing comfort even to troubled souls. Von Aachen’s self-portrait reflects this idea, presenting wine not simply as a source of pleasure, but as a restorative, almost sacred gift capable of easing worldly cares. Hans von Aachen (1552–1615) Hans von Aachen was a German painter and one of the leading representatives of Northern Mannerism. A versatile and prolific artist, he worked across a wide range of genres, including princely and aristocratic portraiture, religious subjects, mythology and allegory. He became particularly celebrated for his sophisticated figure painting and mythological compositions, which found an enthusiastic patron in Emperor Rudolf II. Von Aachen also produced intimate genre scenes, often depicting small groups of figures laughing, drinking or engaged in playful encounters. He appears to have used himself and his wife as models for a number of these works. Typically working on a relatively small scale, he produced numerous cabinet paintings, including works executed on copper. His career reflects the remarkable exchange of artistic ideas between Northern, Southern and Central Europe during the late sixteenth and early seventeenth centuries. Trained in the Netherlandish Renaissance tradition, von Aachen travelled to Italy in 1574 and remained there for approximately fourteen years, working principally in Venice. He returned to Germany in 1587 and settled in Munich before eventually moving to Prague, where he spent the final years of his life. Von Aachen's distinctive style combined the realism and close observation of his Netherlandish training with the elegance, colour and Mannerist influences he encountered in Italy. His career at major European artistic centres, together with the circulation of prints after his compositions, established an international reputation that he enjoyed during his own lifetime. This combination of influences makes von Aachen an important figure in the transmission of Renaissance and Mannerist artistic ideas across Europe at the turn of the seventeenth century. Seal: A red wax armorial seal bearing a centrally placed shield divided horizontally into two fields. The upper field contains a group of three emblematic or tool-like devices, one possibly a hammer or pick, set against a dotted ground; the lower field depicts a prominent rocky mount or group of rocks. The shield is framed by elaborate drapery, gathered and tied above, and flanked by standing allegorical figures or supporters. The figure to the right may represent Mercury, although this identification remains uncertain. To the left is a tall staff-, column- or implement-like object with indistinct decoration or lettering. The entire achievement rests above a curved ribbon or scroll-like element. The seal appears secular rather than ecclesiastical and may represent a personal, familial, commercial or ownership mark. Without frame: 47.5cm x 64cm. Frame: 68.5cm x 83cm.
A rare late sixteenth-century painting on board featuring a self-portrait of Hans von Aachen (1552–1615). Although the original composition is famously by Hans Von Aachen, this example is believed to be a period copy executed by a student or follower during the artist’s lifetime. Scene: In the Late Renaissance humanist tradition, wine was regarded as a divine gift, capable of providing comfort even to troubled souls. Von Aachen’s self-portrait reflects this idea, presenting wine not simply as a source of pleasure, but as a restorative, almost sacred gift capable of easing worldly cares. Hans von Aachen (1552–1615) Hans von Aachen was a German painter and one of the leading representatives of Northern Mannerism. A versatile and prolific artist, he worked across a wide range of genres, including princely and aristocratic portraiture, religious subjects, mythology and allegory. He became particularly celebrated for his sophisticated figure painting and mythological compositions, which found an enthusiastic patron in Emperor Rudolf II. Von Aachen also produced intimate genre scenes, often depicting small groups of figures laughing, drinking or engaged in playful encounters. He appears to have used himself and his wife as models for a number of these works. Typically working on a relatively small scale, he produced numerous cabinet paintings, including works executed on copper. His career reflects the remarkable exchange of artistic ideas between Northern, Southern and Central Europe during the late sixteenth and early seventeenth centuries. Trained in the Netherlandish Renaissance tradition, von Aachen travelled to Italy in 1574 and remained there for approximately fourteen years, working principally in Venice. He returned to Germany in 1587 and settled in Munich before eventually moving to Prague, where he spent the final years of his life. Von Aachen's distinctive style combined the realism and close observation of his Netherlandish training with the elegance, colour and Mannerist influences he encountered in Italy. His career at major European artistic centres, together with the circulation of prints after his compositions, established an international reputation that he enjoyed during his own lifetime. This combination of influences makes von Aachen an important figure in the transmission of Renaissance and Mannerist artistic ideas across Europe at the turn of the seventeenth century. Seal: A red wax armorial seal bearing a centrally placed shield divided horizontally into two fields. The upper field contains a group of three emblematic or tool-like devices, one possibly a hammer or pick, set against a dotted ground; the lower field depicts a prominent rocky mount or group of rocks. The shield is framed by elaborate drapery, gathered and tied above, and flanked by standing allegorical figures or supporters. The figure to the right may represent Mercury, although this identification remains uncertain. To the left is a tall staff-, column- or implement-like object with indistinct decoration or lettering. The entire achievement rests above a curved ribbon or scroll-like element. The seal appears secular rather than ecclesiastical and may represent a personal, familial, commercial or ownership mark. Without frame: 47.5cm x 64cm. Frame: 68.5cm x 83cm.
A rare late sixteenth-century painting on board featuring a self-portrait of Hans von Aachen (1552–1615). Although the original composition is famously by Hans Von Aachen, this example is believed to be a period copy executed by a student or follower during the artist’s lifetime. Scene: In the Late Renaissance humanist tradition, wine was regarded as a divine gift, capable of providing comfort even to troubled souls. Von Aachen’s self-portrait reflects this idea, presenting wine not simply as a source of pleasure, but as a restorative, almost sacred gift capable of easing worldly cares. Hans von Aachen (1552–1615) Hans von Aachen was a German painter and one of the leading representatives of Northern Mannerism. A versatile and prolific artist, he worked across a wide range of genres, including princely and aristocratic portraiture, religious subjects, mythology and allegory. He became particularly celebrated for his sophisticated figure painting and mythological compositions, which found an enthusiastic patron in Emperor Rudolf II. Von Aachen also produced intimate genre scenes, often depicting small groups of figures laughing, drinking or engaged in playful encounters. He appears to have used himself and his wife as models for a number of these works. Typically working on a relatively small scale, he produced numerous cabinet paintings, including works executed on copper. His career reflects the remarkable exchange of artistic ideas between Northern, Southern and Central Europe during the late sixteenth and early seventeenth centuries. Trained in the Netherlandish Renaissance tradition, von Aachen travelled to Italy in 1574 and remained there for approximately fourteen years, working principally in Venice. He returned to Germany in 1587 and settled in Munich before eventually moving to Prague, where he spent the final years of his life. Von Aachen's distinctive style combined the realism and close observation of his Netherlandish training with the elegance, colour and Mannerist influences he encountered in Italy. His career at major European artistic centres, together with the circulation of prints after his compositions, established an international reputation that he enjoyed during his own lifetime. This combination of influences makes von Aachen an important figure in the transmission of Renaissance and Mannerist artistic ideas across Europe at the turn of the seventeenth century. Seal: A red wax armorial seal bearing a centrally placed shield divided horizontally into two fields. The upper field contains a group of three emblematic or tool-like devices, one possibly a hammer or pick, set against a dotted ground; the lower field depicts a prominent rocky mount or group of rocks. The shield is framed by elaborate drapery, gathered and tied above, and flanked by standing allegorical figures or supporters. The figure to the right may represent Mercury, although this identification remains uncertain. To the left is a tall staff-, column- or implement-like object with indistinct decoration or lettering. The entire achievement rests above a curved ribbon or scroll-like element. The seal appears secular rather than ecclesiastical and may represent a personal, familial, commercial or ownership mark. Without frame: 47.5cm x 64cm. Frame: 68.5cm x 83cm.
A rare late sixteenth-century painting on board featuring a self-portrait of Hans von Aachen (1552–1615). Although the original composition is famously by Hans Von Aachen, this example is believed to be a period copy executed by a student or follower during the artist’s lifetime. Scene: In the Late Renaissance humanist tradition, wine was regarded as a divine gift, capable of providing comfort even to troubled souls. Von Aachen’s self-portrait reflects this idea, presenting wine not simply as a source of pleasure, but as a restorative, almost sacred gift capable of easing worldly cares. Hans von Aachen (1552–1615) Hans von Aachen was a German painter and one of the leading representatives of Northern Mannerism. A versatile and prolific artist, he worked across a wide range of genres, including princely and aristocratic portraiture, religious subjects, mythology and allegory. He became particularly celebrated for his sophisticated figure painting and mythological compositions, which found an enthusiastic patron in Emperor Rudolf II. Von Aachen also produced intimate genre scenes, often depicting small groups of figures laughing, drinking or engaged in playful encounters. He appears to have used himself and his wife as models for a number of these works. Typically working on a relatively small scale, he produced numerous cabinet paintings, including works executed on copper. His career reflects the remarkable exchange of artistic ideas between Northern, Southern and Central Europe during the late sixteenth and early seventeenth centuries. Trained in the Netherlandish Renaissance tradition, von Aachen travelled to Italy in 1574 and remained there for approximately fourteen years, working principally in Venice. He returned to Germany in 1587 and settled in Munich before eventually moving to Prague, where he spent the final years of his life. Von Aachen's distinctive style combined the realism and close observation of his Netherlandish training with the elegance, colour and Mannerist influences he encountered in Italy. His career at major European artistic centres, together with the circulation of prints after his compositions, established an international reputation that he enjoyed during his own lifetime. This combination of influences makes von Aachen an important figure in the transmission of Renaissance and Mannerist artistic ideas across Europe at the turn of the seventeenth century. Seal: A red wax armorial seal bearing a centrally placed shield divided horizontally into two fields. The upper field contains a group of three emblematic or tool-like devices, one possibly a hammer or pick, set against a dotted ground; the lower field depicts a prominent rocky mount or group of rocks. The shield is framed by elaborate drapery, gathered and tied above, and flanked by standing allegorical figures or supporters. The figure to the right may represent Mercury, although this identification remains uncertain. To the left is a tall staff-, column- or implement-like object with indistinct decoration or lettering. The entire achievement rests above a curved ribbon or scroll-like element. The seal appears secular rather than ecclesiastical and may represent a personal, familial, commercial or ownership mark. Without frame: 47.5cm x 64cm. Frame: 68.5cm x 83cm.
A rare late sixteenth-century painting on board featuring a self-portrait of Hans von Aachen (1552–1615). Although the original composition is famously by Hans Von Aachen, this example is believed to be a period copy executed by a student or follower during the artist’s lifetime. Scene: In the Late Renaissance humanist tradition, wine was regarded as a divine gift, capable of providing comfort even to troubled souls. Von Aachen’s self-portrait reflects this idea, presenting wine not simply as a source of pleasure, but as a restorative, almost sacred gift capable of easing worldly cares. Hans von Aachen (1552–1615) Hans von Aachen was a German painter and one of the leading representatives of Northern Mannerism. A versatile and prolific artist, he worked across a wide range of genres, including princely and aristocratic portraiture, religious subjects, mythology and allegory. He became particularly celebrated for his sophisticated figure painting and mythological compositions, which found an enthusiastic patron in Emperor Rudolf II. Von Aachen also produced intimate genre scenes, often depicting small groups of figures laughing, drinking or engaged in playful encounters. He appears to have used himself and his wife as models for a number of these works. Typically working on a relatively small scale, he produced numerous cabinet paintings, including works executed on copper. His career reflects the remarkable exchange of artistic ideas between Northern, Southern and Central Europe during the late sixteenth and early seventeenth centuries. Trained in the Netherlandish Renaissance tradition, von Aachen travelled to Italy in 1574 and remained there for approximately fourteen years, working principally in Venice. He returned to Germany in 1587 and settled in Munich before eventually moving to Prague, where he spent the final years of his life. Von Aachen's distinctive style combined the realism and close observation of his Netherlandish training with the elegance, colour and Mannerist influences he encountered in Italy. His career at major European artistic centres, together with the circulation of prints after his compositions, established an international reputation that he enjoyed during his own lifetime. This combination of influences makes von Aachen an important figure in the transmission of Renaissance and Mannerist artistic ideas across Europe at the turn of the seventeenth century. Seal: A red wax armorial seal bearing a centrally placed shield divided horizontally into two fields. The upper field contains a group of three emblematic or tool-like devices, one possibly a hammer or pick, set against a dotted ground; the lower field depicts a prominent rocky mount or group of rocks. The shield is framed by elaborate drapery, gathered and tied above, and flanked by standing allegorical figures or supporters. The figure to the right may represent Mercury, although this identification remains uncertain. To the left is a tall staff-, column- or implement-like object with indistinct decoration or lettering. The entire achievement rests above a curved ribbon or scroll-like element. The seal appears secular rather than ecclesiastical and may represent a personal, familial, commercial or ownership mark. Without frame: 47.5cm x 64cm. Frame: 68.5cm x 83cm.

ID: 3709

Hans Von Aachen Self Portrait - 16th Century Oil Painting

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Description 🔉

A rare late sixteenth-century painting on board featuring a self-portrait of Hans von Aachen (1552–1615). Although the original composition is famously by Hans Von Aachen, this example is believed to be a period copy executed by a student or follower during the artist’s lifetime.

Scene:
In the Late Renaissance humanist tradition, wine was regarded as a divine gift, capable of providing comfort even to troubled souls. Von Aachen’s self-portrait reflects this idea, presenting wine not simply as a source of pleasure, but as a restorative, almost sacred gift capable of easing worldly cares.

Hans von Aachen (1552–1615)
Hans von Aachen was a German painter and one of the leading representatives of Northern Mannerism. A versatile and prolific artist, he worked across a wide range of genres, including princely and aristocratic portraiture, religious subjects, mythology and allegory. He became particularly celebrated for his sophisticated figure painting and mythological compositions, which found an enthusiastic patron in Emperor Rudolf II.

Von Aachen also produced intimate genre scenes, often depicting small groups of figures laughing, drinking or engaged in playful encounters. He appears to have used himself and his wife as models for a number of these works. Typically working on a relatively small scale, he produced numerous cabinet paintings, including works executed on copper.

His career reflects the remarkable exchange of artistic ideas between Northern, Southern and Central Europe during the late sixteenth and early seventeenth centuries. Trained in the Netherlandish Renaissance tradition, von Aachen travelled to Italy in 1574 and remained there for approximately fourteen years, working principally in Venice. He returned to Germany in 1587 and settled in Munich before eventually moving to Prague, where he spent the final years of his life.

Von Aachen's distinctive style combined the realism and close observation of his Netherlandish training with the elegance, colour and Mannerist influences he encountered in Italy. His career at major European artistic centres, together with the circulation of prints after his compositions, established an international reputation that he enjoyed during his own lifetime.

This combination of influences makes von Aachen an important figure in the transmission of Renaissance and Mannerist artistic ideas across Europe at the turn of the seventeenth century.

Seal:
A red wax armorial seal bearing a centrally placed shield divided horizontally into two fields. The upper field contains a group of three emblematic or tool-like devices, one possibly a hammer or pick, set against a dotted ground; the lower field depicts a prominent rocky mount or group of rocks. The shield is framed by elaborate drapery, gathered and tied above, and flanked by standing allegorical figures or supporters. The figure to the right may represent Mercury, although this identification remains uncertain. To the left is a tall staff-, column- or implement-like object with indistinct decoration or lettering. The entire achievement rests above a curved ribbon or scroll-like element. The seal appears secular rather than ecclesiastical and may represent a personal, familial, commercial or ownership mark.

Without frame: 47.5cm x 64cm.
Frame: 68.5cm x 83cm.

Frequently Asked Questions

Who is the sitter?

Hans Von Aachen

Who is the artist?

The artist is unknown but is believed to have been a student or follower working during Hans von Aachen’s lifetime.

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