Jan Muller - Venus with nymphJan Muller - Venus with nymph
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  • Jan Muller - Venus with nymph
  • Jan Muller - Venus with nymph
  • Jan Muller - Venus with nymph
  • Jan Muller - Venus with nymph
  • Jan Muller - Venus with nymph

Jan Muller - Venus with nymph

Item Code: abr521

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Jan Muller - Venus with nymph
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Venus sits on a throne at left with her arm around Cupid and reaches for a piece of fruit in a basket offered to her by a kneeling nymph; two other nymphs and a satyr proffer baskets and a putti hovers overhead dropping flowers; in the foreground is a large column and in the distance is a temple-like structure; after Spranger

Design: Bartholomeus Spranger
Published by: Harmen Jansz. Muller
Print made by: Jan Muller

Lettered below in six lines "En Veneri ... peius & angue". In lower left corner "B [us] Sprangers inventor. / JMuller sculptor." and at right "Harman Muller excud. / Amsterodami".
With partly erased publishers address of Cornelis Danckertz.(1603-1656)
With publishers address of Clement de Jonghe.(1624-1677)

 New Hollstein (Dutch & Flemish) 73.(The Muller Dynasty (Jan Harmensz Muller))
 Bartsch III.288.73

 Literature: H. Leeflang, "'Sine Cerere et Baccho friget Venus' 'after' Bartholomeus Spranger: An early parody of style", in A.W.A. Boschloo et al. (eds.), "Aemulatio: Imitation, emulation and invention in Netherlandish art from 1500 to 1800. Essays in honor of Eric Jan Sluijter", Amsterdam, 2011, pp.89-102.







Additional Information

SKU abr521
Picture Size 28,20 x 20,20 cm
Specification Print
technic Engraving
Artist Jan Muller
period 16th Century
School Dutch
subject Mythology
rating *****
Jan Harmensz. Muller (1571 - 1628 )
Draftsman; painter and printmaker who was born and worked in Amsterdam.

Throughout his life, Jan Harmensz. Muller made drawings, engravings, and paintings. He also worked at his family's successful publishing business, The Gilded Compasses. His father, a printmaker and art dealer, first trained him. Hendrick Goltzius's Mannerist figure style also profoundly influenced Muller. Whether he actually apprenticed to Goltzius in Haarlem or learned by copying Goltzius's prints and drawings is unknown. Muller had contact with many artists practicing in Prague, which was a flourishing cultural center. This contact probably occurred as the result of Muller's ties to the Dutch sculptor Adriaen de Vries, who was working at Emperor Rudolf II's court there. De Vries and Muller were related by marriage. Though he made engravings based on his own designs, most seem to have been after works by Haarlem Mannerists such as Goltzius or by Prague artists, including de Vries and Hans von Aachen. Muller spent 1594 through 1602 in Naples and Rome, making engravings. Upon returning to Amsterdam, he abandoned this work and began managing his father's publishing business, which he had inherited. He managed The Gilded Compasses for the remainder of his life. Muller's will and inventories show that he also painted, though only one painting is firmly attributed to him today.
The engravings by Muller turn out to be of the most sensetive from the mannerist period. His work after the De Vries statues is fenomenal.


Bartholomeus Spranger (1546-1611)

SprangerFlemish painter, draughtsman, sculptor and etcher who became a painter to the imperial court in Prague. His 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 beyond. 

He trained with Cornelis van Dalem, Jan Mandijn, and Frans Mostaert, all three landscape painters. He further copied prints of Frans Floris and Parmigianino.He traveled to Paris and then travelled on to Italy, where he first stayed for eight months in Milan. He then worked for three months in Parma as an assistant to Bernardino Gatti on the painting of the dome of the Santa Maria della Steccata.

He worked on wall paintings in various churches. In Rome he became, like El Greco, a protégé of Giulio Clovio. Here he also met Karel van Mander who would later include a biography of Spranger in the Schilder-boeck. Pope Pius V appointed him court painter in 1570. He was summoned to Vienna by Maximilian II, Holy Roman Emperor, who died soon after his arrival in 1576. But his successor Rudolf II was even more keen to employ him, and in 1581 he was appointed court painter and also valet de chambre, the court having moved its seat to Prague, where he stayed until his death there in 1611, shortly before Rudolf was deposed. Rudolf arranged a wealthy marriage for him, and his house was a centre for artists in Prague.

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. His paintings are the most characteristic of the final phase of Northern Mannerism. By far the best collection is in Vienna. His drawings have great energy, in a very free technique.

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.

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