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Pieter Snayers

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The Infanta Isabella Clara Eugenia at the Siege of Breda of 1624 Print by Pieter Snayers

The Infanta Isabella Clara Eugenia at the Siege of Breda of 1624

The Conquest of Lleida Print by Pieter Snayers

The Conquest of Lleida

Capture of Ypres Print by Pieter Snayers

Capture of Ypres

Capture of Breda Print by Pieter Snayers

Capture of Breda

Capture of Saint-Venant Print by Pieter Snayers

Capture of Saint-Venant

On the slopes of Bar-le-Duc Print by Pieter Snayers

On the slopes of Bar-le-Duc

The cavalry at the siege of Breda Print by Pieter Snayers

The cavalry at the siege of Breda

Cardinal-Infante on the hunt Print by Pieter Snayers

Cardinal-Infante on the hunt

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Field of Battle

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Mountain Landscape with Castle

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Capture of Saint-Venant

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The Conquest of Lleida

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The Infanta Isabella Clara Eugenia at the Siege of Breda of 1624

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The cavalry at the siege of Breda

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Cardinal-Infante on the hunt

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On the slopes of Bar-le-Duc

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Hellenica World, Paintings, Drawings

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Hellenica World, Paintings, Drawings

Hellenica World, Paintings, Drawings

Hellenica World, Paintings, Drawings

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Featured Art - Capture of Breda by Pieter Snayers

Capture of Breda

Pieter Snayers (1592 – 1666 or 1667) was a Flemish Baroque painter known for representations of historical battle scenes.[1][2]

Born in Antwerp, he studied under Sebastiaen Vrancx before joining Antwerp's Guild of St. Luke in 1612.[1] By 1628, Snayers was a citizen in Brussels.[3]

There, he worked first for Archduchess Isabella,[2] and was later the court painter for Cardinal-Infante Ferdinand and Archduke Leopold Wilhelm.[1] For them he painted scenes of victorious battles in the tradition of sixteenth-century tapestries.[1]

Snayers also collaborated with Peter Paul Rubens on several occasions, including the never-finished Life of Henry IV (1628–30) and the Torre de la Parada series (c. 1637–1640).[2] He also painted portraits of aristocracy in Brussels and large landscapes.[2] Snayers's best-known pupil was Adam Frans van der Meulen.[1]

Snayers died at Brussels in 1666 or 1667.


Battle scenes

Snayers' historical battle scenes demonstrate a close attention to topographic accuracy.[3] Frequently, his paintings show a shallow foreground that recedes sharply to show a besieged town from a bird's-eye perspective.[1]

Stylistically, his colouring was more subdued than his teacher Vrancx and reflects contemporary trends in Flemish and Dutch painting.[1]

References

Hans Vlieghe, Flemish Art and Architecture 1585-1700, New Haven: Yale University Press (1998): 173. ISBN 0-300-07038-1
Carl van de Velde, "Snayers, Pieter" Grove Art Online. Oxford University Press, [accessed 9 March 2008].

Konrad Renger and Claudia Denk, Flämische Malerei des Barock in der Alten Pinakothek, Munich: Pinakothek-DuMont (2002): 167. ISBN 3-8321-7255-6

Filippo Baldinucci's Artists in biographies by Filippo Baldinucci, 1610–1670, p. 198 Google books

Further Reading

Liedtke , Walter A. (1984). Flemish paintings in the Metropolitan Museum of Art. New York: The Metropolitan Museum of Art. ISBN 0870993569. (p.241-243, v.1; plate 92, v.2).

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