Visitation

Artus Quellinus II: Life and Legacy

Early Life and Training

Born in St. Trudena, Belgium, in 1625, Artus Quellinus II came from a prominent artistic family. His father, Artus Quellinus I, was a celebrated sculptor, and he had two brothers – Thomas Quellinus, also a sculptor, and Cornelis Quellinus, a painter. He received his initial training in his father’s workshop in Antwerp, laying the foundation for his future career as a Baroque sculptor.

Move to London and Artistic Development

In 1682, Quellinus II relocated to London, joining the growing community of Flemish artists who had emigrated there. This move was likely encouraged by his wife, Frances Siberechts, daughter of the Antwerp-born painter Jan Siberechts. Before establishing himself independently, he briefly worked in the studios of both Hugh May and, more significantly, Grinling Gibbons – a leading English wood carver and sculptor. His collaboration with Gibbons proved particularly influential.

Key Influences

• Artus Quellinus I (Father): Provided foundational training in sculptural techniques and Baroque aesthetics.
• Grinling Gibbons: Exposed him to the intricacies of English wood carving and a more naturalistic approach within the Baroque style.
• Flemish Baroque Tradition: The broader artistic environment of Antwerp shaped his early development, emphasizing dramatic compositions and religious themes.

Major Works and Artistic Style

Quellinus II’s work is characterized by its dynamic energy, detailed craftsmanship, and often monumental scale. He primarily focused on religious sculpture, creating altarpieces, tomb monuments, and decorative elements for churches and palaces.

• God the Father (1682): A striking marble sculpture showcasing classical influences combined with Baroque drama.
• Visitation (1678): A detailed marble relief depicting a biblical scene, demonstrating his skill in narrative representation.
• Tomb of Bishop Marius Ambrose Capello: An elaborate tomb monument exemplifying his ability to create grand and imposing sculptural ensembles.
• Choir Stalls: Intricate carvings for choir stalls, showcasing his mastery of detail and decorative elements.

Collaborations and Later Life

A significant collaboration occurred with Grinling Gibbons on the altarpiece for the Roman Catholic chapel in Whitehall Palace (1685-86). This project highlighted Quellinus II’s ability to work alongside other leading artists. His early death in 1700 marked a loss for the artistic community, and his widow later married his studio assistant, John Nost.

Historical Significance

Artus Quellinus II played an important role in bringing Flemish Baroque sculpture to England. His work helped shape the aesthetic landscape of late 17th-century English art and influenced subsequent generations of sculptors. He bridged the gap between High and Late Baroque styles, contributing significantly to the development of religious sculpture during this period.