由我们的艺术家按需定制，为您提供您所选尺寸及画框的布面手工油画。 (
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从与原作比例一致的预设尺寸中进行选择。
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请注意，屏幕预览无法准确反映实际的裁剪或扩展效果，只有样稿才能真实呈现最终的构图。
虽然我们提供定制尺寸服务，但为了保留原作比例，建议您从预设列表中选择尺寸。
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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.
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.
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.
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.
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.
1653 - 1686 , Belgium
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玻璃选项仅适用于110厘米以下的尺寸。
