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See also: Jesuits' See also: college at See also: Antwerp in 1627, and entered the Antwerp gild of painters without a See also: fee in 1631
.
He is described in the See also: register of that institution as "illuminator, painter and engraver." The current account of his See also: life is " that he worked exclusively in See also: water See also: colours, yet was so remarkable in this branch of his See also: art for arrangement, See also: drawing, and especially for force and clearness of colour, as to excite the admiration of See also: Rubens, whom he portrayed with all his See also: family." The truth is that he was an artist of the most versatile talents, as may be judged from the fact that in 1646 he executed an See also: Assumption with figures of life See also: size, and four smaller pictures in oil, for the See also: church of St Jacques at Antwerp, for which he received the considerable sum of 1150 florins
.
Unhappily no undoubted production of his
See also: hand has been preserved
.
All that we can point to with certainty is a series of etched plates, chiefly portraits, which are acknowledged to have been powerfully and skilfully handled
.
If, however, we See also: search the portfolios of art collections on the See also: European continent, we sometimes stumble upon miniatures on vellum, See also: drawn with See also: great talent and coloured with extraordinary brilliancy
.
In See also: form they quite recall the See also: works of Rubens, and these, it may be, are the See also: work of See also: Philip
See also: Fruytiers
.
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