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283
AN ‘ANASTASIS’ BY WENCESLAS COBERGER, A FLEMISH PAINTER,
DRAFTSMAN, ARCHITECT, NUMISMATIST AND ENGINEER IN ITALY
Jan DE MAERE*
Abstract: The ‘Anastasis’ painting by Marten de Vos as well as the engravings after it inspired many artists
in the Netherlands and Italy. Thus, in the Brukenthal collection there is a painting dated
c. 1600 by an anonymous contemporary Flemish follower. Stylistic analysis situates it in the circle of
Francesco da Castello and Wenceslas Coberger. A similar emulation but of another level of quality is
the van Baarle collection ‘Anastasis’ by Wenceslas Coberger painted in Naples c. 1589/1590. It
illustrates the early career of Coberger, his artistic Flemish, Roman and Neapolitan sources. His
activity in Naples, where an important and successful Flemish and Dutch community of artists was
active from 1570 on and until the 1640’s, is less known than his work realized after his return to
Flanders.
Keywords: Marten de Vos, Wenceslas Coberger, Naples, Marco Pino, Brukenthal collection
Rezumat: Tabloul “Anastasis” de Marten de Vos și gravurile după acesta au inspirat mai mulți artiști
din Țările de Jos și din Italia. Astfel, în colecția Brukenthal se găsește un tablou datat cca. 1600,
datorat unui imitator anonim flamand contemporan. Analiza stilistică îl situează în cercul lui Francesco da
Castello și Wenceslas Coberger. O astfel de imitație, dar de un alt nivel calitativ este “Anastasis” de
Wenceslas Coberger din colecțiavan Baarle, pictată la Napoli la cca. 1589/1590. Ea este reprezentativă
pentru începutul carierei lui Coberger, pentru sursele sale flamande, romane și napolitane. Activitatea sa
de la Napoli, unde de la 1570 și până în anii 1640 a activat cu success o importantă comunitate de artiști
flamanzi și olandezi, este mai puțin cunoscută decât creația sa realizată după întoarcerea sa în Flandra.
Cuvinte-cheie: Marten de Vos, Wenceslas Coberger, Naples, Marco Pino, colecția Brukenthal
1. Flemish artists and Italy in the mid-16th
century
Since the early 16th century, Italian art became
fashionable all over Europe. All ambitious
artists
were drawn there to update their inventions.
Fontainebleau was the nearest direct source of
Italian Mannerism for Flemish Artists. By their
travels, Jan Gossaert Mabuse, Jan van Scorel,
Michiel Coxie, Frans Floris, Maerten van
Heemskerck and others initiated the Italianate
style in the North. The abdication of Charles V in
1555 triggered religious and political conflicts,
leading among other disasters to the Iconoclasm
(August 1566), the outbreak of the Eighty Years
War in 1568 and the Duke of Alva’s military
campaign of 1567 and 1572. His troops rampaged
and looted all over
*University of Art and Design, Cluj-Napoca;
Université Libre Bruxelles ULB,
jandemaere@gmail.com
Flanders. Curious about the new developments in
the arts there, many artists left for Italy because of
these troubles and found a temporary or
permanent refuge there. Almost all passed by
Venice, Naples and Rome, where a Flemish
artistic communities flourished. In Naples there
were more northern artists active than in Rome
and in Venice. Not having been trained in the
fresco technique, they were specialists in the
maniera piccolo (Sapori 2007, 14). Prints were
an as important inspiration for their creations as
for Italian artists. In 1587, Giovanni Battista
Armenini complained about painters slavishly
following prints and about the patrons accepting
it (Armenini 1587, 222). Some Flemish artists
settled in Italian towns and welcomed fellow
locals, introducing them to the art market there.
After the return of his Italian study trip, Lodewijk
Toeput called Pozzoserrato (Anwerp
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AN ‘ANASTASIS’ BY WENCESLAS COBERGER, A FLEMISH PAINTER,
DRAFTSMAN, ARCHITECT, NUMISMATIST AND ENGINEER IN ITALY
1550–1603/1605 Treviso) became, like
Wenceslas Coberger somewhat later, a pupil of
Marten de Vos in Antwerp. In 1573 he left for
Venice and became a famous landscape painter in
the Veneto, after a passage of 8 years in Jacopo
Tintoretto’s studio in Venice. Frescoing several
villas in the Veneto, his Flemish style landscapes,
indebted to Titian’s and Domenico Campagnola’s
designs, influenced the early careers of Paul
Bril, Joos de Momper, Tobias Verhaecht, Gillis
and Frederick van Valckenborch when they
passed in Treviso.
Hendrick van den Broeck (Paludanus) called
Arrigo Fiammingo (Malines 1523–1597 Rome),
the former court painter of Cosimo I de Medici
(1557/58), was recorded in Naples in the years
1567/1568. He worked in the Catacombs of Saint
Gaudiosus and painted a Life of the Virgin in
the Santi Severino e Sossio church. Back in
Rome, he became famous when he painted the
Resurrection of Christ on opposite wall of
Michelangelo’s Last Judgment in the Sistine
chapel in the Vatican (1571/1572), a few years
before Coberger’s arrival in Rome (1579). This
composition was one of the influences on
Coberger’s ‘van Baarle Anastasis’, painted in
Naples (c. 1590).
After 1574, a strong Flemish community of artists
was active and successful in Naples: the Malines
born Cornelis Smet (Vargas 1991), also called
Pyp, Ferraro or Terrazzo, was active in Naples
during 1574–1592. Aert Mijtens called Rinaldo
Fiammingo (master in Naples, 1578) was Smet’s
collaborator and married later his widow (1592).
Dirck Hendricksz Centen (Teodoro d’Errico),
Gaspard Hovic, Pieter Torres (Todos), Abraham
Vincx, Jan Soens, Bartholomeus Spranger and
others were successful in
obtaining commissions
there. Centen, active in Naples 1574–1606 (see
his Madonna del Rosario dated 1578 in the
Farnese collection at the Museo del Capodimento,
Fig. 18 and his Resurrection in San Domenico
Maggiore, Naples, dated 1605–1606) and Smet
(see his Madonna del Rosario dated c. 1590, in
the Cathedral of Muro Lucano, Fig. 17) had large
and successful studios, serving as a base for
Flemish artists arriving in Naples (Previtali 1980).
Smet exercised a strong influence on the early
work of Coberger and on the local
artists until the turn of the century, as is evidenced
by the Madona del Rosario by Aert Mijtens in the
St Priscus Cathedral of Nocera Inferiore (Fig.
19). In Naples, Coberger lived in a house in the
Strada Toledo in front of the Cesare d’Avalos
Palace.
2. Coberger’s early career in Antwerp, Rome
and Naples
Wenceslas Cobergher (Antwerp 1557/1561–23
November 1634 Brussels) was a painter,
engraver, numismatist, archeologist, chemist,
architect antiquarian, economist,
mathematician, and engineer, the natural child
of
Wenceslas I Cobergher, Duke of Bohemia, and
Catharina Raems (attested by a deed – the will of
his deceased mother – dated May 1579, Antwerp).
He is one of the fathers of the Flemish Baroque
style in Architecture, inspired by the Il Gesu
church, Santa Maria in Transpontina church and
Santa Maria in Vallicella in Rome. In 1573, he
was an apprentice to Marten de Vos, whose style
influenced him strongly, even later in his Italian
period. In 1579, he left briefly for Paris, returned
to Antwerp to be informed about his deceased
mother’s will and then moved to Naples and to
Rome in 1579. A friend had lent him 130 florins
Carolus (i. e. Carolus ďOr) to finance the trip. He
settled in Naples on 5 October 1580 (as attested
by a contract) where he remained until 1604.
Initially, he worked ‘locatio personae’ for another
artist from Mechelen, Cornelis Smet, established
in Naples since 1574. Smet paid him 8 Ducaten a
day plus housing. Landscape settings and realistic
elements were greatly in demand and appeared in
Neapolitan art, influenced by the many northern
artists there.
In 1583, Coberger returned briefly to Antwerp. He
is mentioned again in Naples as ‘maestro
Vincenzo’ in 1587, when he painted his first
documented commission: the Martyr of Saint
Bartholomew. Rapidly, he was appreciated by the
wealthy Neapolitan families. He was held in
high esteem by the Carafa family. He painted a
Resurrection in San Domenico Maggiore church,
Capella del Crussificio (Fig. 12) for the funeral
monument of Ferranti and Giovanni Pietro
Carafa (1593) commissioned by the Grand
Admiral of the Viceregno Francesco Carafa.
Other members of the family such as Tiberio,
Diomede (Francesco’s
BRUKENTAL ACTA MUSEI, XVIII 2, 2023
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Jan DE MAERE
father) and the abbess Beatrice also
commissioned him paintings. In Rome (1590), he
witnessed the completion of the dome of Saint
Peter’s Basilica and gathered an important
collection of medals and coins, which he
documented by drawings and described them in
a catalogue (Brussels, Royal Library of Belgium).
As an architect, he designed fountains and canals,
palaces, and fortifications.
In 1591, he befriended the Flemish painter
Jacob Francaert the Elder (b. 1551/1601) for
whom he worked some time. He also became
acquainted there with Jan Breughel and Paul Bril.
In 1592, he collaborated with Giovanni Battista
Cavagna, Girolamo Imperato and Fabrizio
Santafede at the decoration of the Church in La
Vid, and in 1594 for the ceiling of the Church
of the Annunciation.
In 1597, he moved to Rome (as attested in a letter
to Peter Paul Rubens by Jacques Cools), where he,
Paul Bril and Cristoforo Roncalli appraised the
art collection of Cardinal Bonelli. He was
recognized as a renowned connoisseur. After the
death of his first wife Michaela Cerf, he (40 years
old) married on 7 July 1599 in Rome the Brussels
born Suzanna Francaert. The 15 years old
daughter of Jacob Francaert gave him 9 children.
In 1601, he is mentioned in the register of the
Santa Maria del Populo parish church in Rome
as having 41 years of age. He met probably the
French humanist and friend of Rubens Nicolas-
Claude Fabri de Peiresc in Rome in 1601 and later
in Flanders in 1606 in connection with his
numismatic expertise. In Rome, he met Paul
Bril again and befriended Frans van de Casteele
and Balthazar Lauwers. On 23rd of February
1601, also there, he supervised and participated in
the realization of 90 Scenes of Eremites for Don
Pedro Toledo Marquess di Villafranca for the
Monasterio dell’Annunziata at Villafranca del
Bierzo. The compositions were inspired by the
engravings after Maerten
de Vos (engraved by
Johan I Sadeler and Raphael Sadeler), his former
master. He collaborated in this project with Paul
Bril, Willem van Nieulandt and Jacob Francaert.
He tried to sell his important collection of antique
coins which he cataloged in a set of manuscripts
to the Duke of Aerschot.
In Naples, his post-Tridentine style incorporated
Mannerist elements (from Marten
de Vos) and Renaissance elements (from Raphael
and Michelangelo), strongly influenced by the
then leading artist there, Marco Pino (On Marco
Pino and his work: Fiorillo 1984; Zezza 2003). A
precise anatomical rendering, a dark contrasting
color harmony and a well-studied complex
composition were the foundation of his style. ‘De
Jonge Handboog’ archers guild of Antwerp
commissioned him a ‘Saint Sebastian’ (now in
the Nancy Museum, fig 23) for the cathedral of
Our Lady in 1598, when he worked still in
Rome.
3. Coberger in Flanders
The Catholic governors of the Low Countries,
Archduke Albrecht and Infanta Isabella,
allowed him a annual pension of 1,500 florins as
their architect and engineer. He returned to
Brussels (established in the Violetstraat) in
September 1601. From September 1603 until
April 1604, he was back in Rome to settle family
matters because of the death of in-laws. On 12
November 1604, the archdukes appointed him
as ‘architecte imaginaire’ and in the same year
he was admitted as free master in the Antwerp
Guild of Saint Luke and a year later as member
of the Romanist Brotherhood there.
As many of his colleagues, back in his native
country, he adapted to the local style, watering
down the stylistic innovations he knew from
his Italian stay. He eliminated the Mannerist
effect and adapted his style to the local demand
for Baroque paintings by the Archdukes. In
1610, he designed, assisted by Salomon de Caus
a French hydraulic engineer who used a pump
developed by the Augsburg engineer Georg
Müller, in a more locally grounded ‘tempietto’
style the fountains for the ponds near the
archducal palace in Brussels. He designed the
cloister of the Discalced Carmelites in Brussel
(1607- 11).
After 1615, he worked mainly as a successful
architect. He included Roman Baroque style
architecture in all his designs for churches,
castles, town halls (in Ath) and in 1618 ‘Bergen
van Barmhartigheid’ (1618, public pawnshops) in
the Spanish Netherlands. His most important
achievement is the church of the Virgin in
Scherpenheuvel (design 1606; built 1609 – 1624,
the belfry remained unfinished). He designed this
bastion of the Catholic Counter Reformation as a
pilgrim church,
an
allegoric
tribute
to
the
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AN ‘ANASTASIS’ BY WENCESLAS COBERGER, A FLEMISH PAINTER,
DRAFTSMAN, ARCHITECT, NUMISMATIST AND ENGINEER IN ITALY
Virgin Mary; and this opposite the nearby
protestant town of Diest. He also designed the Saint
Augustine church in Antwerp (started 1615). The
Archdukes mentioned him as ‘uomo universal’
and augmented in 1610 his salary from 1,500 to
1,800 guilders (Rubens’ salary was then only 500
guilders). In 1618, he was appointed as General
Superintendent of the public pawn shops (monts-
de-piété), a concept he introduced in Flanders
following the example of the Italian Monti di Pietà.
As a hydraulic engineer he designed successful
drainage works in the Kempen and in de Moëren
near Dunckercke (1619 à 1625), for which the
Archdukes bestowed the title of baron upon him
(1618), master of the seigneuries of Coberger, Sint
Antheunis and Groenlandt. He died in Brussels on
23 November 1634, leaving his family in big
financial trouble because of the cost of these
drainage works. All his possessions had to be sold
at his death. (On the life and work of W. Coberger:
Plantenga 1926, 3-46; Fokker 1930–
1931, 170; Mörsch 1965, 21-82; Bodart 1970;
Soetaert 1978; Soetaert 1979, 164–174;
Previtali 1980; Causa 1983, 90; Sotaert 1986,
89-104; De Castris 1991, 88-106 and 323-324;
De Maere, Wabbes 1994, I, 102-103 and II,
262-264; Nappi 1995, 145-147; Meganck
1998; De Mieri 2012; Nappi 2015).
4. The van Baarle Resurrection by Coberger
(Figs. 1–2)
After 1525, all the later Resurrection
compositions are indebted to Titian’s Averoldi
altarpiece in Saints Nazzaro e Celso church in
Brescia (1522) and to Michelangelo’s sinuous
figures and natural corporality. This was also
the case for the Resurrection by Martin de Vos
(Fig. 8). Prints and book illustrations provide
important information about the transmission of
images, styles, and their diffusion. Engravings
after this work by Marten de Vos (Figs. 4–7)
inspired many artists, not only in Flanders but also
in Italy.
Among the artists inspired by them should be
noted the anonymous author of the Anastasis
(panel with a 6-pointed star as panel mark on
the back 54.5 x 41 cm, inv. no. 1231) in the Baron
Samuel von Brukenthal collection in Sibiu (Die
Gemälde- Galerie 1844, 39, cat. nr. 6; Führer
1893, 19, cat. nr. 44; Csaki 1901,
332, cat. nr. 1183; Csaki 1909, 370, cat. nr.
1231; Csaki 1926, 30, cat. nr. 1231; Jan De
Maere inventory 2005, inv. 255), purchased as
a work of Marten de Vos, but attributed later
(since 1893) to the manner of Marten de Vos and
here to the circle of Francesco da Castello, a
Flemish artist born as Frans van de Kasteele
(Brussels 1541–1621 Rome) ca. 1600 in Italy (On
Francesco da Castello: Dacos 1979; Borsellino
1983/1984; Fiamminghi a Roma 1995; Carretero
Calvo et al. 2021; Dacos et al. 1995). It shows a
certain stylistic similarity with the works by
Francesco da Castello (Figs. 9–11), as The Last
Judgement (266 x 223 cm, auctioned at
Dorotheum in Vienna on 21 April 2015, no. 210),
The Resurrection of the Virgin (32 x 24 cm,
auctioned by La Suite on 27 April 2013, no.
63) and Virgin with Saints, dated 1595, in the St
Bernardine Capucin convent in Orte, but also
some connections with the Coberger
Resurrection. It is apparently painted on an
Antwerp panel marked with a six-pointed star
on the back (of a panel maker?). Its composition
(Fig. 3) is obviously derived from one of these
prints, but the artist, as Coberger did, adapted the
de Vos inspiration to his own stylistic
expression. Both paintings have besides their
Antwerp Mannerist style also an Italian flavor,
as well in their chromatic as in Italian style
influences. De Vos’ dynamic iconography
bestows the scene with dramatic power. The
general composition, Christ’s appearance in a
circle of divine light and the running, sleeping,
and panicked soldiers are adopted by many
artists in different countries. But the soldier on the
right in the Brukenthal painting is quite similar in
casquet and outfit to the same figure in the
Coberger Resurrection.
The van Baarle ‘Anastasis’ (Figs. 1-2) by
Wenceslas Coberger (oil on panel, 82 x 62 cm),
was painted in Naples and is datable at circa
1589/1590. Its oldest documented provenance is
with Jonkheer Pieter van Baarle (1896–1963) in
the Netherlands. Since 1932 it belonged to Baron
Jean Joseph Marie Benoit
van Caloen de
Bassegem (1884–1972). In 1950 it was included
in the Baron Jean van Caloen Foundation and
was kept in the Loppem castle in Zedelgem
(Belgium). His son Baron Roland van Caloen de
Bassegem (1920–2014) sold it in the 1990’s. In
November 2002 it was auctioned at Servarts in
Brussels (nr. 77) and entered the M. Marx
collection in Leuven. Nowadays it belongs to a
BRUKENTAL ACTA MUSEI, XVIII 2, 2023
Jan DE MAERE
287
private collection in Luxemburg. An infrared
radiograph made by Maximiliaan Martens at the
Ghent University’s Laboratory on March 21,
2023 (Fig. 2) reveals a fine and secure free-
handed underdrawings for the figures. Initially, a
much wider red mantle was painted, but in the
work’s final stage Coberger reduced it,
eliminating also details in the landscape.
In the van Baarle and the Carafa Resurrections,
Coberger did not follow Martin de Vos literally,
but as many of the latter’s many pupils, he was
early on influenced by the Italian sources of his
master. Later through his travels in Rome and
Naples he integrated all these influences in his
personal style.
In the vigorous Resurrection (Fig. 12) in San
Domenico Maggiore (canvas, 233 x 150 cm,
signed on banderole lower left, commissioned
in 1589), Coberger was influenced by the
narrative style of Hendrick van den Broeck (Figs.
13–14), enhancing the latter’s Christ’s statuesque
presence by a strong divine light and in a
chromatic closer to Marco Pino’s (Figs. 15–16).
The lying soldiers are seen from behind and
the running one create the link between the two
halves of the composition. The painter observes
the scene from a 30° angle from the left
viewpoint (De Maere 2011, 143-145), the
construction lines of this spatial concept unite
with the vanishing point of the diagonal
construction lines of the central perspective. This
gives the Christ figure in the upper V construction
a sense of ascension and movement, adding a
spectacular spatial dimension to the composition.
Marco Pino da Siena (Costa da Pino 1517/22–
1588 (?) Naples), his most famous
contemporary
in Naples, also was influential on the van Baarle
Resurrection. The latter died shortly before
Carafa was able to commission the ‘Resurrection
altar piece’ for the Capella del Crussificio in the
Church San Domenico Maggiore. Compared to
that altarpiece, Coberger displayed a more
realistic approach and simplified the setting.
The much smaller van Baarle Resurrection
(probably earlier) is carefully painted in a more
typical Flemish Mannerist style on panel. He
changed the pastel halve-tones in the big canvas
for the ‘Carafa Resurrection’ to a Flemish
chromatism in
primary
blue,
red
and
yellow.
He
also
changed the light effect by introducing a
chiaroscuro effect by combining two light
sources: the realistic early morning light, and
the blinding divine refulgence without shadow. In
San Domenico Maggiore, the divine light is the
only source. In both works the latter cast shadows
on the blinded soldiers. In both, the body of Christ
is trans luminant and idealized, but more subdued
in the van Baarle composition. There, Christ’s
body is more physically present. Its radiance is
heavenly and limited to the inside of the cloud.
It does not cast shadows. Christ’s victory is
total. He looks up to the Father, announcing
Salvation. The powerful sculptural and
muscular bodies of the blinded soldiers create a
dynamic effect, enhancing their value as
witnesses of the fact that Christ did arise from
the tomb that morning of the third day. The van
Baarle Resurrection illustrates a shift in
theological concept, since in the New Testament
the Holy Ladies discover the empty tomb, not
knowing what happened. An angel came and told
them. The Apostle Peter came later, saw and
believed.
Michelangelo’s nudes were a source of emulation
as well for Hendrick Van den Broeck (Figs. 13-
14), Marten de Vos (Figs. 9- 11) and Marco Pino
(Figs. 15-16), as for Coberger. The latter
combined here Flemish realistic elements and the
Italian tradition, drawing on artistic precedents.
He illustrates in this resurrection scene his Faith
of a high order, an exalted state of mystic
consciousness. The characteristics of the
Resurrection (signed and dated 1564) by his
former master Marten de Vos (Zweite, 1980,
cat.
nr. 12 p. 266, fig 14) and earlier examples by
Barent van Orley, were still strongly determining
his style in Naples. Also, drawings by the then
(1577) already deceased Hans Speckaert,
frequently shown by his heir Anthonis van
Santvoort (via Cornelis Cort) to visiting artists in
Rome, had an impact probably on Coberger.
This was also the case for paintings by the artists
visiting van Santvoort, such as Hans Speckaert.
His figures in the Louvre Conversion of Saint
Paul, dated 1570–1577 have the same muscular-
monumental presence and empathic-theatrical
attitudes (Fig. 20). Coberger’s colour harmony
is
comparable to the Louvre painting and the Jael
and Sissera in the Boymans van Beuningen
(Rotterdam). Dionys Calvaert
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(1540–1619), active in Rome and in Bologna
since the 1560’s, had also an impact on Coberger,
as we see in Coberger’s copy (Warsaw National
Museum of Fine Arts) after Calvaert’s Noli me
Tangere (Musée National ďHistoire et ďArt
Luxembourg, inv. 2015- 225/001; canvas 118.5 x
87.3 cm).
The van Baarle Resurrection combines all these
different aspects in a harmonious and dynamic
concept, illustrating the very moment of Christ’s
raising from the tomb as a theological ‘verifiable
fact’. Some stylistic elements are taken from
earlier compositions by Pino, such as the arms
and hands gestures and the running soldier (also
in Pino’s drawing ‘Caduto di S. Paolo’, Pin Nat
Siena). The facial expressions are derived from
the Marten de Vos figures in the latter’s
Resurrection (1564). The Christ figure is almost
identical to the drawing by Hendrick Van den
Broeck, dated c. 1570/1580 (Fig. 14).
The van Baarle Resurrection is vigorous in color,
still lacking the Caravaggesque effect of
Coberger’s later baroque style. The sculptural
frightened soldiers in the foreground move their
powerful muscles in the shadows of the early
morning light. Both legs and the right arm of
the strongly lit Christ figure are directly derived
from Pino’s Resurrection in S. Lucia del
Gonfalone (Fig. 16), Roma (c. 1569/1570: Zezza
2003, cat. nr. A 76).
The divine blinding light is beyond the sense
of sight. Its radiant splendor acts as a spiritual
encounter, a heavenly vision defying earthly
optics. It does not cast a shadow. The observing
soldiers shield their eyes. The divine refulgence is
an aspect of the divine presence, a spiritual
communication. In the first chapter of the Bible
(Genesis, 1:3: ‘Be light made and light was
made’), Elohim creates light by ‘fiat’. In the
Gospel of Saint John (John, 1:5), the first verse
describes God as Light. The Flemish Augustine
mystic canon Jan van Ruysbroeck (1293–1381)
described in middle Dutch vernacular in The
Book of Beguines (Van Ruysbroek, 1913, 40) the
‘Uncreated
Light’ as an intermediary stage
leading to the fourth step in mystic elevation.
The New Testament writings do not contain a
description of the moment of the resurrection
(literally:
awakening),
only
accounts
of
the
empty tomb and the later appearances of Christ
as ‘Kyrios’ (Vermes 2008, 46-51). The visionary
Saint Paul described the resurrection as a
physical event, which should not be taken in a
literal sense. He sees the celestial resurrected
body (soma) animated by Light of the Spirit
(pneumatikos) instead of the soul (psychikos), as
a mythological metaphoric understanding of
Christ’s victory over dead (Øistein Endsjø 2009,
223-224). This idea was taken over by the
Gospels, which emphasize more the material
aspect to counter the spiritual interpretation, as
a historical event that can be verified by the
empty tomb. The two opposing interpretations
were still alive in Coberger’s time. Therefore, in
the interpretation in the van Baarle
Resurrection, the very moment is exemplified as
a kind of visual proof, the witnessing of the event,
is enhanced by the dramatic reaction of the
soldiers.
5. External influences and tradition in
Coberger’s van Baarle Resurrection
Around 1540, there was a noticeable change in the
style of Netherlandish figure painting. The
leading painters began to design in a style that was
directly oriented toward the works of the post-
Raphaelesque artists working in Italy and France.
Even the paintings of seasoned artists such as Jan
van Scorel, Maerten van Heemskerck and
stained-glass concepts by Michiel Coxie show
evidence of this stylistic shift and the demand
for it by patrons. Northern artists had learned to
observe human anatomy as a scientific tool,
leading to the ‘antico-Italianate nude’ (Van Den
Boogert 1992). The circulation of French and
Italian prints after Raphael and the early works of
his followers helped to stimulate the overall
shift in taste in the late 1520s and 1530s. From
1540 on, the output of Parisian and Fontainebleau
etchers and engravers was critical for the
development of new stylistic trends, adapting
foreign models to local traditions in the
Netherlands and especially in Antwerp. Extended
Italian study trips led often to the permanent
establishment of northern artists all over Italy.
In Naples, Coberger emulated Michelangelo,
Raphael, Barend van Orley, Marten de Vos, Hans
Speckaert, Cornelis Smet and Marco Pino in a
personal Late Mannerist style (e.g.,
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Jan DE MAERE
Pino works in Naples in the church
S. Severino e Sossio in 1571). His style bears
witness of Taddeo Zuccaro’s, Perino’s
‘svoltessa
di disegno’, Pellegrino Tibaldi’s Mannerism,
Frederico Barocci’s influences; but above all of
Michelangelo’s heroic ‘Terrabilita’ and of
Raphael’s complex pyramidal compositional
formulas. Coberger uses contrapposto and above
all ‘Furia’, like fire in motion. The narrative
decorum and affetti are sacrificed to the ideal of
the superhuman beauty of Christ’s body.
The main aspect of Christ’s attitude of this
composition is derived from Raphael’s
‘Transfiguration’ and Nicolas Beatrizet’s
engraving after it. It influenced Marten de Vos
and Marco Pino (and Coberger as well) in various
paintings, such as Pino’s ‘Transfiguration’ in the
Chiesa del Gesù Vecchio in Naples. Different
other versions of Pino’s ‘Resurrection’ are in the
Galleria Borghese (inv. 205) in Rome (Fig. 15),
dated circa 1569/1570, in the Oratory of the
Gonfalone (Fig. 16) in Rome, dated circa
1569/1570 and in Chiesa di S. Maria del Populo
agli Incurabili in Naples, dated in 1577 (46.5 x
81.5 cm). Coberger most probably studied Pino’s
and Hendrick van den Broeck’s works (Figs. 13-
14) in Rome and Naples and adopted some
stylistic elements in his personal style.
The young Giuseppe Cesari Cavalier d’Arpino
(1568–1640) was in Naples where he received the
commission on 28 June 1589 for the fresco murals
of the choir vault of the Certosa di San Martino.
Before he left for Rome in 1591, he most probably
met Coberger. In Rome and in Naples Cavalier
d’Arpino became familiar with the Flemish
painting style. His mannerist Christ Taken (panel
89 x 62 cm) for the Osservatori Domenico, dated
c. 1597 illustrates the assimilation by this
mayor artist of a great number of Italian and
Flemish examples. He was probably also a source
for Coberger.
6. A catalogue of paintings by Coberger
a. Painted in the Naples region (1579–1598):
- Martyrdom of S. Barthelemew, Naples,
Sancta Maria di Costantinopoli, 1587.
- lost panel, Chiesa della Sapienza, 1588.
- Ecce Homo, Naples, Santa Maria di
Piedigrotta, 1588–1589, commissioned by
Alfonso de Herrera, Bishop of Ariano (Calvario
and 4 small panels mentioned for the Capello di
Passione: Ecce Homo/Flagellation/San Dismo
and Elevation of the Cross).
- Elevazione delle Croce, Naples, Santa Maria
di
Piedigrotta, in collaboration with his studio,
1588–1589.
- Calvario, Naples, Santa Maria di Piedigrotta,
1588–1589.
- Raising of Lazar, Santa Maria di Piedigrotta
church, 1588-1589.
- Resurrection, San Domenico Maggiore
church (Fig. 12), Capella del Crussificio, canvas
233 x 150 cm, signed on banderole lower left,
1589, tomb monument of Ferranti and Giovanni
Pietro Carafa (1593).
- Virgin and Child with Saint Catarina of
Alexandria, Thomas Aquinas and Catarina of
Siena, Santa Catarina church, Formello,
1588/1590 for Bishop Tiberio Carafa.
- San Silvestro tra I Santi Giuliano, Giuliano e
Basilio, for the Chiesa di San Francisco di Assisi,
Lecce, now in Museo Provinciale Sigismundo
Castromediana, Lecce.
- unidentified subject, Maria del Porto, church of
Maria di Constantinopel.
- unidentified subject, Vibo, Valentia, church di
San Leoluca.
- Annunciation, signed, Ariano Irpino, Palazzo
Vescovile, panel c. 1590/1595 (Fig. 22);
- Giubileo di S. Pietro ad Aram church,
1590’s.
- Procession of the Madonna of Lepanto.
- Baptism of Christ, S. Sebastiano church.
- S. Catherina, Vibo Valentia church.
- Immaculate Virgin, Palazzo Arcivescovile,
1588.
- Saint Gregory, Bishop of Armenia, San
Gregorio Armeno for Abbess Beatrice Carafa,
1580–1582.
- Madonna del Rosario, Chiesa della Trinita at
Piano di Sorrento (Naples).
- Christ as a Gardener, National Museum Fine
Arts in Warsaw (Fig. 21).
- Martirio di Sant Erasmo (lost) Chiesa dello
Spirito Santo, c. 1590.
-Nativita a lume di notte, Burgos, Church Santa
Maria de la Vid, 1592 at the request of the
Viceroy Juan de Zuniga y Avellaneda.
- Aspettatione della Virgine, Capella di
Ospedale di Santa Maria della Pieta di Peneranda
de Duero, where he finished the painting
Aspettatione
della
Vergine
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DRAFTSMAN, ARCHITECT, NUMISMATIST AND ENGINEER IN ITALY
Commenced by ‘Giovanni Scurs
fiammingo’(Soens?) paid 33 Ducati.
- A copy after Raffaello, for Diomede Carafa,
April 1596.
b. Painted in Rome and before his return to
Flanders (1598-1604):
- Holy Spirit, Chiesa Nuova S. Maria in
Vallicella, 1598.
- Portrait of Cardinal Francesco-Maria
Tarugi, mezzo busto, signed and dated 1598,
collection Pisani, Naples.
- Portrait of Cardinal Francesco-Maria Tarugi,
full length with a landscape in the style of Paul
Bril;
- Pentecost, Santa Maria in Vallicella, Capella di
Diego del Campo.
- Martyrdom of S. Sebastian (Fig. 23),
commissioned by the Antwerp Young Archers
Guild for the Antwerp cathedral (dated 1598,
Musée des Beaux-Arts, Nancy inv. 92), later
modified (1605).
c. Painted in the Southern Netherlands
(Antwerp 1604/ Brussels Violetstraat, 1605-
1634):
- Deposition, painted for the S. Goriks chapel,
Brussels (Brussels, Musée Royal des Beaux-
Arts) 1605 (Fig. 25);
- St. Helena with the Cross, S. Jacobs church
Antwerp, 1605 (Fig. 24);
- Ecce Homo, Museum Toulouse B A,
1604/1610.
W. Coberger realised also one engraving: Virgin
and Child, dated 1586 and monogrammed
W.C.L.E.F (Strauss, Spike 1982, nr. 578).
7. The Brukenthal Ressurrection after
Martin de Vos
Prints and book illustrations provide important
information about the transmission of images,
styles, and their diffusion. Engravings after
Marten de Vos inspired many artists, not only
in Flanders but also in Italy. The Brukenthal
Resurrection has a certain stylistic similarity with
the work by Frans van de Kasteele (Francesco da
Castello) and some connections with the
Coberger Resurrection. It is painted on an
apparent Antwerp panel marked with a six-
pointed star on the back (of a An t w er p panel
maker in use 1619-50). It is obviously derived
from one of these prints, but the artist, as Coberger
did, adapted the de Vos inspiration to his own
stylistic expression. Both paintings have besides
their Antwerp Mannerist style also an Italian
flavor, as well in their chromatism as in Italian
style influences. De Vos’ dynamic iconography
bestows the scene with dramatic power. The
general composition, Christ’s appearance in a
circle of divine light and the running soldiers and
the sleeping and panicked soldiers are taken over
by many artists in different countries. But the
soldier on the right
in the Brukenthal painting is
quite similar in casquet and outfit to the same
figure in the Coberger Resurrection.
BRUKENTAL ACTA MUSEI, XVIII 2, 2023
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Jan DE MAERE
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DRAFTSMAN, ARCHITECT, NUMISMATIST AND ENGINEER IN ITALY
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Nappi 2015 Nappi, Eduardo. La Chiesa e il Convento di San Domenico
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Sapori 2007 Sapori, Giovanna, Fiamminghi nel cantiere Italia 1500–1600,
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Soetaert 1978 Soetaert, P. Wenzel Cobergher, een Vlaamse Leonardo da Vinci. In:
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Oostenrijkse Nederlanden 1618–1795, Brussel, 1986.
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Van Ruysbroeck 1913 Van Ruysbroeck, Jan. The Book of the Twelve Béguines (translation
by John Francis), London, 1913.
Van Den Boogert 1992 Bob C. Van Den Boogert, Habsburgs imperialisme en de
verspreiding van renaissancevormen in de Nederlanden: de vensters
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Vermes 2008 Vermes Geza, The Ressurrection, London, 2008.
Zezza 2003 Zezza, Andrea. Marco Pino. L’opera completa, Napoli, 2003. Zweite
1980 Zweite, Armin. Marten de Vos als Maler: ein Beitrag zur
Geschichte der Antwerpener Malerei in der zweite Hälfte des 16.
Jahrhunderts, Berlin, 1980.
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LIST OF ILLUSTRATIONS
Fig. 1. Wenceslas Coberger, Resurrection / The van Baarle ‘Anastasis’, c. 1589–1590. (Private
collection, Luxemburg)
Fig. 2. Infrared reflectography of The van Baarle ‘Anastasis’.
Fig. 3. Anonymous after Marten de Vos, Resurrection, c. 1600. (Brukenthal National Museum, Sibiu)
Fig. 4. Engraving by Anthony II Wiericx after Resurrection by Martin de Vos, c. 1580
Fig. 5. Engraving by Anthony II Wiericx after Resurrection by Martin de Vos, c. 1580
Fig. 6. Engraving by Crispijn I van de Passe after Resurrection by Martin de Vos, c. 1580
Fig. 7. Aegidius Sadeler’s engraving after Resurrection by Martin de Vos
Fig. 8. Marten de Vos, Resurrection, c. 1564. (National Gallery of Ireland, Dublin)
Fig. 9. Francesco da Castello, Last Judgement. (Private collection)
Fig. 10. Francesco da Castello, Resurrection of the Virgin. (Private collection)
Fig. 11. Francesco da Castello, Virgin with Saints, 1595. (St Bernardine Capucin Convent, Orte)
Fig. 12. Wenceslas Coberger, Resurrection, 1589. (San Domenico Maggiore, Naples)
Fig. 13. Hendrick van den Broeck (Paludanus) called Arrigo Fiammingo, Resurrection, 1571–1572.
(Sistine Chapell, Vatican)
Fig. 14. Hendrick van den Broeck, Resurrection, drawing, c. 1570–1580. (Private collection)
Fig. 15. Marco Pino, Resurrection, c. 1569-1570. (Palazzo Borghese, Rome)
Fig. 16. Marco Pino, Resurrection, c. 1569ß1570. (Santa Lucia del Gonfalone, Rome)
Fig. 17. Cornelis Smet called Cornelio Ferraro, Madonna del Rosario, c. 1590. (Cathedral in Muro
Lucano)
Fig. 18. Dirck Hendricsz Centen called Teodoro d’Errico, Madonna del Rosario, 1578. (Museo di
Capodimonte, Napoli)
Fig. 19. Aert Mijtens called Rinaldo Fiammingo, Madonna del Rosario. (St Priscus Cathedral, Nocera
Inferiore)
Fig. 20. Hans Speckaert, Conversion of Saint Paul, 1570–1577. (Musée du Louvre, Paris)
Fig. 21. Wenceslas Coberger after Denis Calvaert, Christ as Gadener, c. 1590–1595. (National
Museum of Art, Warsaw)
Fig. 22. Wenceslas Coberger, Annunciation, c. 1590–1595. (Palazzo Vescovile, Arriano Irpino)
Fig. 23. Wenceslas Coberger, Martyrdom of St Sebastian, c. 1598–1605. (Musée des Beaux-Arts,
Nancy)
Fig. 24. Wenceslas Coberger, St Helena and the Holy Cross, 1605. (St Jacob’s church, Antwerp)
Fig. 25. Wenceslas Coberger, Deposition, 1605. (Musée Royal des Beaux-Arts, Brussels)
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LISTA ILUSTRAȚIILOR
Fig. 1. Wenceslas Coberger, Învierea / Învierea van Baarle, cca. 1589–1590. (Colecție privată,
Luxemburg)
Fig. 2. Reflectografie în infraroșu a Învierii van Baarle
Fig. 3. Anonim după Marten de Vos, Învierea, ca. 1620-50. (Muzeul Național Brukenthal, Sibiu)
Fig. 4. Gravură de Anthony II Wiericx după Învierea de Martin de Vos, cca. 1580
Fig. 5. Gravură de Anthony II Wiericx după Învierea de Martin de Vos, cca. 1580
Fig. 6. Gravură de Crispijn I van de Passe după Învierea de Martin de Vos, cca. 1580
Fig. 7. Gravura lui Aegidius Sadeler după Învierea de Martin de Vos
Fig. 8. Marten de Vos, Învierea, cca. 1564. (National Gallery of Ireland, Dublin)
Fig. 9. Francesco da Castello, Judecata de Apoi. (Colecție privată)
Fig. 10. Francesco da Castello, Învierea Fecioarei. (Colecție privată)
Fig. 11. Francesco da Castello, Fecioara cu sfinții, 1595. (Mănăstirea capucină “Sf. Bernardin”, Orte)
Fig. 12. Wenceslas Coberger, Învierea, 1589. (San Domenico Maggiore, Napoli)
Fig. 13. Hendrick van den Broeck (Paludnus) zis Arrigo Fiammingo, Învierea, 1571-1572. (Sistine
Chapell, Vatican)
Fig. 14. Hendrick van den Broeck, Învierea, desen, cca. 1570–1580. (Colecție privată)
Fig. 15. Marco Pino, Învierea, cca. 1569–1570. (Palazzo Borghese, Roma)
Fig. 16. Marco Pino, Învierea, cca. 1569–1570. (Santa Lucia del Gonfalone, Rome)
Fig. 17. Cornelis Smet zis Cornelio Ferraro, Madonna del Rosario, cca. 1590. (Catedrala din Muro
Lucano)
Fig. 18. Dirck Hendricsz Centen zis Teodoro d’Errico, Madonna del Rosario, 1578. (Museo di
Capodimonte, Napoli)
Fig. 19. Aert Mijtens zis Rinaldo Fiammingo, Madonna del Rosario. (Catedrala “Sf. Priscus”, Nocera
Inferiore)
Fig. 20. Hans Speckaert, Convertirea Sf. Pavel, 1570–1577. (Musée du Louvre, Paris)
Fig. 21. Wenceslas Coberger după Denis Calvaert, Christos ca grădinar, cca. 1590–1595. (Muzeul
Național de Artă, Varșovia)
Fig. 22. Wenceslas Coberger, Buna Vestire, cca. 1590–1595. (Palazzo Vescovile, Arriano Irpino)
Fig. 23. Wenceslas Coberger, Martiriul Sf. Sebastian, cca. 1598–1605. (Musée des Beaux-arts,
Nancy)
Fig. 24. Wenceslas Coberger, Sf. Elena cu Sf. Cruce, 1605. (Biserica “Sf. Iacob”, Anvers)
Fig.
25.
Wenceslas
Coberger,
Coborârea
în
mormânt,
1605.
(Musée
Royal
des
Beaux-Arts,
Bruxelles)
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Fig. 1. Wenceslas Coberger, Resurrection / The van Baarle ‘Anastasis’, c. 1589–1590.
(Private collection, Luxemburg)
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Fig. 2. Infrared reflectography of The van Baarle ‘Anastasis’
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Fig. 3. Anonymous after Marten de Vos, Resurrection, c. 1620-50.
(Brukenthal National Museum, Sibiu)
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Fig. 4. Engraving by Anthony II
Wiericx after Martin de Vos’
Resurrection, c. 1580
Fig. 5. Engraving by Anthony II
Wiericx after Martin de Vos’
Resurrection, c. 1580
Fig. 6. Engraving by Crispijn I van
de Passe after Martin de Vos’
Resurrection, c. 1580
Fig. 7. Aegidius Sadeler’s
engraving after Martin de Vos’
Resurrection
Fig. 8. Marten de Vos,
Resurrection, c. 1564
Fig.
9.
Francesco
da
Castello,
Last Judgement
Fig. 10. Francesco da Castello,
Resurrection of the Virgin
Fig. 11. Fr. da Castello, Virgin
with Saints, 1595
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Fig. 12. Wenceslas Coberger,
Resurrection, 1589 Fig. 13. Hendrick van den Broeck (Paludanus) called Arrigo
Fiammingo, Resurrection, 1571–1572
Fig. 14. Hendrick van den Broeck,
Resurrection, c. 1570–1580
Fig. 17 Cornelis Smet called
Cornelio Ferraro,
Madonna del Rosario, c. 1590
Fig. 15. Marco Pino,
Resurrection, c. 1569–1570
Fig. 18 Dirck Hendricsz Centen
called Teodoro d’Errico,
Madonna del Rosario, 1578
Fig. 16. Marco Pino, Resurrection,
c. 1569–1570
Fig. 19 Aert Mijtens called
Rinaldo Fiammingo,
Madonna del Rosario
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Fig. 20 Hans Speckaert, Conversion of Saint Paul, 1570–1577 Fig. 21 Wenceslas Coberger after
Denis Calvaert, Christ as Gadener,
c. 1590–1595
Fig. 22 Wenceslas Coberger,
Annunciation,
c. 1590–1595
Fig. 23 Wenceslas Coberger,
Martyrdom of St Sebastian,
c. 1598–1605
Fig. 24 Wenceslas Coberger, St Helena
and the Holy Cross, 1605 Fig. 25 Wenceslas Coberger,
Deposition, 1605
