Bartholomeus Spranger

This style stressed sensuality, which was expressed in smoothly modeled, elongated figures arranged in elegant poses, often including a nude woman seen from behind.

[3] Spranger's unique style combining elements of Netherlandish painting and Italian influences, in particular the Roman Mannerists, had an important influence on other artists in Prague and elsewhere, in particular the Dutch Republic, as his paintings were disseminated widely through prints as well as by artists who had worked with him such as Karel van Mander.

Just like Anselmus Boetius de Boodt (1550–1632), the Flemish gemologist and physician, the artist developed a close personal relationship with Rudolf and the two spent many days together engaged in conversation.

In the meantime, Spranger supplied the emperor with a continuous stream of paintings of mythological scenes with nudes drawn from nature as well as propaganda pieces which extolled the virtues of Rudolf as a ruler.

An example of a work combining the two elements of eroticism and propaganda is the Allegory of the virtues of Rudolf II (Kunsthistorisches Museum) which shows Bellona (the Roman goddess of war) sitting on a globe surrounded by Venus, Amor, Athene and Baccus and emblems symbolising Hungary and the Croatian river Sava.

This sad story is depicted in Aegidius Sadeler's Portrait of Bartholomeus Spranger with an Allegory on the Death of his Wife.

[8] Spranger's paintings for Rudolf mostly depict mythological nudes in various complex poses, with some connection to the Emperor's esoteric Late-Renaissance philosophical ideas.

He may have acquired his knowledge of sculpture through his collaboration with the Flemish sculptor Hans Mont, who also worked at the Prague court.

[4] Aegidius Sadeler, who lived in his house in Prague for some time, and Hendrik Goltzius made engravings of his paintings, spreading Spranger's fame around Europe.