Stradanus

Born in Bruges, he began his training in the shop of his father. He subsequently continued his training in the workshop of the otherwise unknown Bruges master Maximiliaen Francken (from 1535 to 1537). He later moved to Antwerp, where he studied from 1537 to 1540 in the workshop of Pieter Aertsen, a Dutch genre painter active in that city. There he mastered the visual language of the Renaissance and the ability to depict complex compositions. In 1545 he was registered under the name Hans vander Straten as a master painter in the Antwerp guild of Saint Luke. As was common at the time, Stradanus left his home country to complete his studies in Italy. In Venice he met the Flemish carpet weaver Jan Rost who headed up the newly established Arazzeria Medicea, the personal weaving workshop in Florence of the Grand Duke of Tuscany Cosimo I de' Medici. Rost encouraged Stradanus to travel to Florence for work. He followed the advice and reached Florence in 1550, where he entered in the service of the Medici Grand Dukes. He became one of the principal assistants of Giorgio Vasari, a painter, architect and the principal advisor of the Medici on art issues. Stradanus carried out his first commissions as a designer of tapestries in the Arazzeria Medicea. Here he assisted Francesco Salviati and also worked with Daniele da Volterra on the decoration of the Vatican Belvedere. Stradanus became financially successful and he was able to acquire a house and other possessions as well as donate substantial sums to religious institutions. One of these was the Sant'Agata Monastery, where his daughter Lucrezia became a nun in 1569. Stradanus also worked on various ephemeral works created for important public events in Florence. In 1565, he was a member of the team of painters and sculptors who executed the large-scale decorations at the occasion of the entry into Florence of Joanna of Austria, Grand Duchess of Tuscany on the occasion of her wedding with Francesco I de' Medici, Grand Duke of Tuscany. The overall direction of the project was in the hands of Giorgio Vasari. Representations of the four elements (earth, air, fire and water) covered each wall. Stradanus contributed two paintings to the decoration of the Studiolo: ''The Alchemist's Studio and Circe transforms the companions of Ulysses''. In the early 1570s Stradanus seems to have become independent of the court and Vasari. By this time the relationship between Stradanus and Vasari had soured and Vasari even tried to prevent Stradanus from gaining certain commissions. During this period he created a number of easel paintings. He had started to gain on his own commissions for large altarpieces for the most important churches of Florence, starting with Santa Croce in 1569, which was followed by Santissima Annunziata, Santo Spirito, Santa Maria Novella and other churches. He was also gradually working more outside Florence in places such as Pisa, Prato, Arezzo and Forli. Stradanus collaborated with printmakers Hieronymus Cock and the Galle family in Antwerp to produce hundreds of prints on a variety of subjects, most of which were repeatedly reproduced and often bound into volumes. By 1583 Stradanus had returned to Florence. He worked that year for the Pazzi family for whom he painted an extensive series of frescoes for the chapel in Villa Pazzi al Parugiano in Montemurlo near Florence. He worked between 1585 and 1587 on a commission by Alessandro Ottaviano de' Medici (later Pope Leo XI) on frescoes for the chapel of the Palazzo Della Gherardesca in Florence. He died in Florence on 2 November 1605. He was buried in the Cappella della Compagnia di Santa Barbara of de Santissima Annunziata in Florence. To this day, his tomb is decorated with a bust of the artist, made after a portrait by his son Scipio, together with an inscription referring to his Flemish roots. ==Work==

General Stradanus was a versatile artist who worked as an easel and fresco painter, designer of tapestries, draughtsman, designer of prints and pottery decorator. His subject range was varied and included history subjects, mythological and religious scenes, allegories, landscapes, genre scenes, portraits, battle pieces, architectural scenes and animals. In his use of wash to outline the figures Stradanus distinguished himself from his Flemish masters who preferred the use of a pen for such work. In his style and technique Stradanus combined his Flemish training with Italian techniques. He emphasized the pictorial qualities in his drawings. Paintings Stradanus produced large altarpieces for the most important Florentine churches. His monumental religious panels still hang in the Santa Croce, Santissima Annunziata, Santa Maria Novelia and Santo Spirito. Stradanus' talent as a fresco painter is visible in the murals he created in the Palazzo Vecchio. This ducal palace, which was designed under the direction of Giorgio Vasari, was given a complete decoration with frescoes according to an extensive and complex iconographic program developed by Vasari. Stradanus made a fundamental contribution to the detailed designs of the fresco's, which were then executed by him and workshop assistants. In recognition of his important contribution his portrait was placed alongside that of Vasari on the ceiling of the Salone dei Cinquecento, the majestic reception room of the Palazzo. Cosimo wanted to decorate his outdoor villa in Poggio a Caiano with tapestries. Stradanus developed a decorative project with hunting scenes divided in three categories: hunts for four-legged animals, animals in the air and animals in the water. The designs were inspired by contemporary sources, the classical literature of Pliny, Homer and Herodotus, as well as the hunting practices at the Florentine court. The designs were received with great acclaim. Stradanus completed 28 cartoons for the series, which was woven between 1566 and 1577. He also designed a series depicting the Horses of the Stable of John of Austria and the Illustrious acts of Roman women. In yet another genre of print designs, aimed at a wider audience, Stradanus referred back to the subjects which he had elaborated as a court artist to the Medici court in his designs of tapestries and frescoes in the Palazzo Vecchio: a series that recounts the history and production of silk, an extensive series on the military triumphs of the Medici and a series depicting hunts of various animals published under the title Venationes Ferarum, Avium, Piscium. While some of the hunts in the last series are depicted in a relatively realistic manner, such as the dramatic rendering of horsemen with lances trying to kill a lion that fiercely resists, other hunts seem rather unrealistic such as the print showing leopards being caught with the help of mirrors. One of his most famous loose prints was the Allegory of the arts engraved by Cornelis Cort in 1578. == References ==