[1] He did not share the other Northern Caravaggisti's preference for humorous, and sometimes scabrous, genre scenes and elaborate decorative allegories but favored stories from the bible instead.

He worked in various locations in Italy where he enjoyed the patronage of religious institutions as well as prominent members of the nobility.

Alternatively, he could have trained with Hendrick ter Brugghen, another leading Utrecht Caravaggist, who had returned from Italy in 1614, or with other painters such as Joachim Wtewael, Paulus Moreelse or Abraham Bloemaert.

His then residence was the former apartment of the Dutch painter Paulus Bor from Amersfoort who had left Italy four years earlier.

[5] The large altarpiece of the Assumption of Mary with three saints (now in the church of Santa Maria di Lorino in Chiuduno near Bergamo in Lombardy) dates from the period of his stay in Rome.

His most important commissions from his Neapolitan period are for a series on the Passion of Christ made for the Capuchin Church of Sant’Efemo Nuovo.

[8] From his social contacts with English and Dutch sailors it appears that he was more integrated with the expat community than with local society in Naples.

The prosperous Antwerp merchant Gaspar Roomer who resided in Naples may have facilitated his commercial success, although there is no documentary evidence for this.

It appears that his candlelight scenes with half figures with their characteristic combination of elements from the oeuvres of Gerrit van Honthorst and Rubens were particularly popular with the local clientele.

Stom likely left Naples after the novelty of his work had worn out, having been unable or unwilling to adapt to new artistic developments.

Van Honthorst was known in Italy as 'Gherardo della Notte' or 'Gherardo delle Notti' (Gerard of the night(s)) for his candle lit scenes.

Stom's works often use the device of a covered candle or other light source to create dramatic chiaroscuro effects.

All of these artists were influenced by the Italian painter Caravaggio and his followers during their stay in Italy and showed a preference for chiaroscuro effects in their work.

[13] Stom also relied in his works on a dramatic chiaroscuro, often created through a single light source such as a candle.