Justus Sustermans, also known as Giusto Sustermans, was considered the best painter in Italy at the time. But Sustermans was born in Antwerp in the late 16th century. Before he moved to Italy, he studied in Flanders, Antwerp and later Paris. It is assumed that Willem de Vos, the nephew of the famous Antwerp painter Maarten de Vos, was his teacher. Sustermans then lived in Florence, which was his main residence until his death at the age of 83. Fascinated by the Italian Baroque, he studied famous Venetian artists and was soon active as court painter to the Medici. For this influential family of the Renaissance he painted countless portraits. His patrons appreciated his art very much, especially the Grand Duke Cosimo II de Medici, who stayed often, long and gladly in Sustermans studio.
Besides his passion for Italian art, Sustermans was also interested in the Spanish portrait painter Diego Velázquez and the Frenchman Pierre Mignard. Nor did Sustermans allow himself to be restricted in terms of his commissioned works: alongside the Medici, he painted portraits for the Austrian Archduke Ferdinand II or, for example, for the astronomer Galileo Gallilei. For Galileo, whose patrons were also the Medici, Sustermans painted a total of three different portraits, one of which was a gift to a Parisian friend of Galileo. Later, however, the painting, like many other works by Sustermans, ended up in the collection of Ferdinand II. The latter was also responsible for the fact that Sustermans often stayed in Vienna, in addition to his main residence in Florence. He was accompanied by his brother Jan, who, like Sustermans other brothers Cornelis and Franz, was also an artist. Sustermans also went to Rome, where he painted a portrait of Pope Urban VIII.
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His works were initially characterized by very clear, precise lines. Susterman's early paintings thus impressively confirm the craftsmanship he brought to his work. It is not for nothing that he was known as the best painter in all of Italy. In the course of his life, however, he gradually moved away from this style. In the meantime, he painted his motifs in a rather reduced and reserved manner in a gloomy ambience. In the end, however, he found his final style neither in his initial accuracy nor in modesty. Instead, his later pictures appear freer and more expressive. Sustermans also ran an artistic workshop for a long time, where Francesco Buonavita, Valerio Marucelli and Giovanni Lionardo Henner, for example, worked as painters.
Justus Sustermans, also known as Giusto Sustermans, was considered the best painter in Italy at the time. But Sustermans was born in Antwerp in the late 16th century. Before he moved to Italy, he studied in Flanders, Antwerp and later Paris. It is assumed that Willem de Vos, the nephew of the famous Antwerp painter Maarten de Vos, was his teacher. Sustermans then lived in Florence, which was his main residence until his death at the age of 83. Fascinated by the Italian Baroque, he studied famous Venetian artists and was soon active as court painter to the Medici. For this influential family of the Renaissance he painted countless portraits. His patrons appreciated his art very much, especially the Grand Duke Cosimo II de Medici, who stayed often, long and gladly in Sustermans studio.
Besides his passion for Italian art, Sustermans was also interested in the Spanish portrait painter Diego Velázquez and the Frenchman Pierre Mignard. Nor did Sustermans allow himself to be restricted in terms of his commissioned works: alongside the Medici, he painted portraits for the Austrian Archduke Ferdinand II or, for example, for the astronomer Galileo Gallilei. For Galileo, whose patrons were also the Medici, Sustermans painted a total of three different portraits, one of which was a gift to a Parisian friend of Galileo. Later, however, the painting, like many other works by Sustermans, ended up in the collection of Ferdinand II. The latter was also responsible for the fact that Sustermans often stayed in Vienna, in addition to his main residence in Florence. He was accompanied by his brother Jan, who, like Sustermans other brothers Cornelis and Franz, was also an artist. Sustermans also went to Rome, where he painted a portrait of Pope Urban VIII.
Br/>
His works were initially characterized by very clear, precise lines. Susterman's early paintings thus impressively confirm the craftsmanship he brought to his work. It is not for nothing that he was known as the best painter in all of Italy. In the course of his life, however, he gradually moved away from this style. In the meantime, he painted his motifs in a rather reduced and reserved manner in a gloomy ambience. In the end, however, he found his final style neither in his initial accuracy nor in modesty. Instead, his later pictures appear freer and more expressive. Sustermans also ran an artistic workshop for a long time, where Francesco Buonavita, Valerio Marucelli and Giovanni Lionardo Henner, for example, worked as painters.
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