Wilhelm Schubert van Ehrenberg

[2] His son Peter Schubart von Ehrenberg was also an artist who had a successful career as a painter, engraver and stage designer in Vienna.

His collaborators included Hendrik van Minderhout, Gaspar de Witte, Hieronymus Janssens and Charles Emmanuel Biset.

Paintings such as the Interior of the Saint-Carolus-Borromeus Church in Antwerp (1667; Royal Museums of Fine Arts of Belgium, Brussels)[4] emphasize the Baroque architecture of the space depicted, but are more artificial than his Dutch Golden Age contemporaries such as Pieter Jansz Saenredam or Emanuel de Witte.

[7] An example of van Ehrenberg's work in this genre is the Interior of an art collector's cabinet with many visitors (Musée Girodet, Montargis).

The genre of gallery paintings had by that time become a medium to accentuate the notion that the powers of discernment associated with connoisseurship are socially superior to or more desirable than other forms of knowing.

The painting is a collaboration with each of the individual painters whose work is depicted in the painting and have signed their own work: Theodoor Boeyermans (Daughters of Cecrops and Erychtonius), Pieter Boel (Animal Piece), Jan Cossiers (Diana and Actaeon), Cornelis de Heem (Fruit Still Life), Robert van den Hoecke (Winter Landscape), Philips Augustijn Immenraet (Italianate Landscape), Jacob Jordaens (Gyges and Kandaules and Allegory of Painting), Pieter Thijs (Adoration of the Shepherds), Lucas van Uden (Landscape) and the monogrammists missed PB (Fish Still Life) and PVI or PVH (Satyr and Nymph).

Van Ehrenberg painted the architecture as well as the ceiling (which is made up of copies of Rubens' works for the Carolus Borromeuskerk in Antwerp) (later destroyed in a fire).