Hans von Aachen

Known for his skill in the depiction of nudes, his eroticized mythological scenes were particularly enjoyed by his principal patron, Emperor Rudolf II.

[4] The life and work of Hans von Aachen bear unique witness to the cultural transfer between North, South and Central Europe in the late 16th and early 17th centuries.

[5] After training in the tradition of Netherlandish Renaissance painting the artist moved to Italy in 1574, where he remained for about 14 years, mainly working in Venice.

[3] The combination of the Netherlandish realism of his training and the Italian influences gained during his travels gave rise to his unique painting style.

[5] His presence in the important art centres of the time, the wide distribution of prints after his designs and his congenial character all contributed to his international fame during his lifetime.

[4] Hans von Aachen began painting in Germany as a pupil of the portrait painter Georg Jerrigh, who had trained in Antwerp.

He was active as a copyist and worked in the workshop of the Flemish painter and art dealer Gaspar Rem who was a native of Antwerp.

He became a member of the circle of northern artists active in Rome such as Otto van Veen, Joris Hoefnagel, the brothers Paul and Matthijs Bril, Hans Speckaert and Joseph Heintz the Elder.

The special treatment provided to painters and artists generally in Rudolf's Prague turned the city into a major art centre.

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] In this role he travelled to the owners of art collections to convey the emperor's often shameless bullying to make them accept his offers for their treasures.

[3] Hans von Aachen was a versatile artist who produced portraits, paintings of historical and religious subjects, genre pictures and allegories.

Throughout his career his principal influences were the style of Bartholomeus Spranger and Hendrick Goltzius who dominated the art scene in Germany at the time.

The series consists of 13 plates engraved by the Flemish printmaker Aegidius Sadeler who was active at the Prague court.