Category:16th-century Flemish painters
Pages in category "16th-century Flemish painters"
The following 16 pages are in this category, out of 16 total. This list may not reflect recent changes (learn more).
The following 16 pages are in this category, out of 16 total. This list may not reflect recent changes (learn more).
1. Hieronymus Bosch – Hieronymus Bosch was a Dutch/Netherlandish draughtsman and painter from Brabant. He is widely considered one of the most notable representatives of Early Netherlandish painting school and his work is known for its fantastic imagery, detailed landscapes, and illustrations of religious concepts and narratives. Within his lifetime his work was collected in the Netherlands, Austria, and Spain, little is known of Boschs life, though there are some records. He spent most of it in the town of s-Hertogenbosch, where he was born in his grandfathers house, the roots of his forefathers are in Nijmegen and Aachen. His pessimistic and fantastical style cast a wide influence on art of the 16th century. His paintings have been difficult to translate from a point of view. Today he is seen as a hugely individualistic painter with deep insight into humanitys desires, attribution has been especially difficult, today only about 25 paintings are confidently given to his hand along with 8 drawings. Approximately another half dozen paintings are attributed to his workshop. His most acclaimed works consist of a few triptych altarpieces, the most outstanding of which is The Garden of Earthly Delights, Hieronymus Bosch was born Jheronimus van Aken. He signed a number of his paintings as Jheronimus Bosch, the name derives from his birthplace, s-Hertogenbosch, which is commonly called Den Bosch. Little is known of Boschs life or training, nothing is known of his personality or his thoughts on the meaning of his art. Boschs date of birth has not been determined with certainty and it is estimated at c.1450 on the basis of a hand drawn portrait made shortly before his death in 1516. The drawing shows the artist at an age, probably in his late sixties. Bosch was born and lived all his life in and near s-Hertogenbosch and his grandfather, Jan van Aken, was a painter and is first mentioned in the records in 1430. It is known that Jan had five sons, four of whom were also painters, Boschs father, Anthonius van Aken, acted as artistic adviser to the Illustrious Brotherhood of Our Blessed Lady. It is generally assumed that either Boschs father or one of his uncles taught the artist to paint, Bosch first appears in the municipal record on 5 April 1474, when he is named along with two brothers and a sister. In 1463,4,000 houses in the town were destroyed by a catastrophic fire and he became a popular painter in his lifetime and often received commissions from abroad. In 1488 he joined the highly respected Brotherhood of Our Lady, a religious group of some 40 influential citizens of s-HertogenboschHieronymus Bosch – Attributed to Jacques Le Boucq, Portrait of Hieronymus Bosch. c. 1550
2. Pieter Bruegel the Elder – He also painted no portraits, the other mainstay of Netherlandish art. After his training and travels to Italy, he returned in 1555 to settle in Antwerp and he does the same with the fantastic and anarchic world developed in Renaissance prints and book illustrations. He is sometimes referred to as Peasant Bruegel, to him from the many later painters in his family. From 1559, he dropped the h from his name and signed his paintings as Bruegel, the two main early sources for Bruegels biography are Lodovico Guicciardinis account of the Low Countries and Karel van Manders 1604 Schilder-boeck. Guicciardini recorded that Bruegel was born in Breda, but van Mander specified that Bruegel was born in a village near Breda called Brueghel, nothing at all is known of his family background. Van Mander seems to assume he came from a peasant background, in keeping with the over-emphasis on Bruegels peasant genre scenes given by van Mander and many art historians. Breda was already a significant centre as the base of the House of Orange-Nassau, with a population of some 8,000, from the fact that Bruegel entered the Antwerp painters guild in 1551, it is inferred that he was born between 1525 and 1530. His master, according to van Mander, was the Antwerp painter Pieter Coecke van Aelst, between 1545 and 1550 he was a pupil of Pieter Coecke, who died on 6 December 1550. Bruegel possibly got this work via the connections of Mayken Verhulst, maykens father and eight siblings were all artists or married an artist, and lived in Mechelen. In 1551 Bruegel became a master in the Guild of Saint Luke of Antwerp. He set off for Italy soon after, probably by way of France. He visited Rome and, rather adventurously for the period, by 1552 he had reached Reggio Calabria at the tip of the mainland. He probably continued to Sicily, but by 1553 was back in Rome, there he met the miniaturist Giulio Clovio, whose will of 1578 lists paintings by Bruegel, in one case a joint work. These works, apparently landscapes, have not survived, but marginal miniatures in manuscripts by Clovio are attributed to Bruegel, with one exception, Bruegel did not work the plates himself, but produced a drawing which Cocks specialists worked from. In 1563 he was married in Brussels, where he lived for the rest of his life, while Antwerp was the capital of Netherlandish commerce as well as the art market, Brussels was the centre of government. Van Mander tells a story that his mother-in-law pushed for the move to him from his established servant girl mistress. By now painting had become his main activity, and his most famous come from these years. His paintings were sought after, with patrons including wealthy Flemish collectors and Cardinal Granvelle, in effect the Habsburg chief ministerPieter Bruegel the Elder – The Painter and The Connoisseur, c. 1565 is thought to be Bruegel's self-portrait.
3. Jan Brueghel the Elder – Jan Brueghel the Elder was a Flemish painter and draughtsman. He was the son of the eminent Flemish Renaissance painter Pieter Brueghel the Elder, a close friend of, and regular collaborator with, Rubens, the two artists were the leading Flemish painters in the first three decades of the 17th century. He was an important innovator who created new types of such as flower garland paintings, paradise landscapes. He further created genre paintings that were imitations, pastiches and reworkings of his fathers works and he was court painter of the Archduke and Duchess Albrecht and Isabella, the governors of the Southern Netherlands. The artist was nicknamed Velvet Brueghel, Flower Brueghel, and Paradise Brueghel, the first is believed to have been given him because of his mastery in the rendering of fabrics. The second nickname is a reference to his specialization in flower still lifes and these paintings have now been reattributed to Jan Brueghel the Elder. Jan Brueghel the Elder was born in Brussels as the son of Pieter Brueghel the Elder and his mother was the daughter of prominent Flemish Renaissance artist Pieter Coecke van Aelst and Mayken Verhulst. His father died about a year after Jans birth in 1569, Mayken Verhulst was an artist in her own right. The early Flemish biographer Karel van Mander wrote in his Schilder-boeck published in 1604 that Mayken was the first art teacher of her two grandsons and she taught them drawing and watercolor painting of miniatures. Jan and his brother may also have trained with local artists in Brussels who were active as tapestry designers, Jan and his brother Pieter were then sent to Antwerp to study oil painting. According to Karel van Mander he studied under Peter Goetkint, an important dealer with a collection of paintings in his shop. Goetkint died on 15 July 1583 not very long after Jan had started his training and it is possible that Jan continued his studies in this shop, which was taken over by Goetkints widow as no other master is recorded. It was common for Flemish painters of that time to travel to Italy to complete their studies, Jan Brueghel left for Italy, first traveling to Cologne where his sister Marie and her family lived. He later visited Frankenthal, an important cultural centre where a number of Flemish landscape artists were active and he then went to Naples after probably spending time in Venice. In Naples he produced after June 1590 a number of drawings and he worked for Don Francesco Caracciolo, a prominent nobleman and priest and founder of the Clerics Regular Minor. Jan produced small-scale decorative work for Don Francesco, Brueghel left Naples for Rome where he resided from 1592 to 1594. Paul Bril was a landscape specialist from Antwerp who had moved to Rome at the end of the 16th century, together with his brother Mathijs Bril, he created atmospheric landscapes for many Roman residences. Brueghel took inspiration from Brils lively drawings and small-scale landscapes of the mid-1590s, during his time in Rome Jan Brueghel became acquainted with Hans Rottenhammer, a German painter of small highly finished cabinet paintings on copperJan Brueghel the Elder – Family of Jan Breughel the Elder, c. 1612-13, by Peter Paul Rubens, depicts Brueghel, his wife Catharina van Mariënburg and their eldest surviving children: Elisabeth (b. 1609) and Pieter (b. 1608).
4. Pieter Brueghel the Younger – Pieter Brueghel the Younger or Pieter Bruegel the Younger was a Flemish painter, known for numerous copies after his father Pieter Bruegel the Elders work as well as his original compositions. The large output of his studio, which produced for the local and export market and these paintings have now been attributed to his brother Jan Brueghel the Elder. Pieter Brueghel the Younger was born in Brussels, the oldest son of the famous sixteenth-century Netherlandish painter Pieter Brueghel the Elder and his father died in 1569, when Pieter the younger was only five years old. Following the death of his mother in 1578, Pieter, together with his brother Jan Brueghel the Elder and sister Marie, Mayken Verhulst was the widow of the prolific artist Pieter Coecke van Aelst and an accomplished artist in her own right, known for her miniature paintings. According to the early 17th-century Flemish biographer Karel van Mander Mayken Verhulst was possibly the first teacher of her two grandsons, the Brueghel family moved to Antwerp sometime after 1578 and Pieter possibly entered the studio of the landscape painter Gillis van Coninxloo. His teacher left Antwerp in 1585 and in the 1584/1585 registers of the Guild of Saint Luke, on 5 November 1588 Pieter married Elisabeth Goddelet. The couple had seven children, many of whom died young, one son called Pieter Brueghel III was also a painter. Pieter Brueghel the Younger operated a studio in Antwerp which produced mainly inexpensive copies of his fathers work for local sale. He was nevertheless often in difficulties, possibly due to drinking. He had at least 9 pupils including Frans Snyders and Andries Daniels and he died in Antwerp, aged 72. Pieter Brueghel the Younger painted landscapes, religious subjects, proverbs and his genre paintings of peasants emphasize the picturesque, and are regarded by some as lacking Pieter the Elders subtlety and humanism. He and his workshop were prolific copyists of Pieter Bruegel the Elders most famous compositions and his name and work were largely forgotten in the 18th and 19th centuries until he was rediscovered in the first half of the 20th century. Pieter Brueghel the Younger created original works largely in the idiom of his father which are energetic, bold and bright, one of the artists most successful original designs was the painting of The Village Lawyer. The different titles of the work indicate that it may have been interpreted in different ways in the 17th century. The picture also shows peasants lining up with such as chickens and eggs to please the lawyer. The painting shows his interest in and close observation of village life, Pieter Brueghel the Youngers workshop made many copies of the composition in different formats. There exist 19 signed and dated versions of work out of some 25 originals and 35 questionable versions. Another original composition of Pieter Brueghel the Younger is the Whitsun Bride, one of the copies was formerly held by the Metropolitan MuseumPieter Brueghel the Younger – Anthony van Dyck: Portrait of Pieter Brueghel the Younger
5. Joannes Corvus – Joannes Corvus, or Johannes Corvus, was a Flemish portrait painter who was active in the 16th century. Corvus has been identified with Jan Rave, a native of Bruges, received master in that town in 1512, who came to England. In 1820 this portrait was placed in a new and gorgeous frame, vertues statement is authenticated by the existence of a portrait of Mary Tudor, the daughter of Henry VII, which has a frame and inscription similar to that of Bishop Fox, as described by Vertue. This picture, after being restored extensively, was in the possession of the Des Vœux family, in this portrait there is a groundwork of gold showing through the colour of the dress, which is painted over it. The portrait of Henry Grey, duke of Suffolk, in the collection, has for similar reasons been ascribed to Corvus. Attribution This article incorporates text from a now in the public domain, Cust. Media related to Joannes Corvus at Wikimedia CommonsJoannes Corvus – Richard Foxe
6. Hieronimo Custodis – Hieronimo Custodis was a Flemish portrait painter active in England in the reign of Elizabeth I. A native of Antwerp, Custodis was one of many Flemish artists of the Tudor court who had fled to England to avoid the persecution of Protestants in the Spanish Netherlands. He is thought to have arrived in England sometime after the fall of Antwerp to the forces of the Duke of Parma in 1585, three English portraits by Custodis signed and dated 1589 firmly establish him as resident in London by that year. In 1591, he was living in the parish of St Bodolph-without-Aldgate where Jacobus the son of Ieronyme Custodis A Paynter was baptised on 2 March. He is assumed to have died in 1593, as all of his works are dated between 1589 and 1593, and his widow remarried that year. Custodiss unsigned but dated works are idenitified by palaeographical peculiarities in the inscriptions which can be matched to those in his signed portraits. Hearn, Karen, ed. Dynasties, Painting in Tudor, the English Icon, Elizabethan and Jacobean Portraiture,1969, Routledge & Kegan Paul, London Strong, Roy. “Elizabethan Painting, An Approach Through Inscriptions, facing the Past, A catalogue of early portraiture 1530 -1780, Weiss Gallery, London. Media related to Hieronimo Custodis at Wikimedia Commons 12 Painting by or after Hieronimo Custodis at the Art UK siteHieronimo Custodis – Signed and dated portrait of Elizabeth Brydges, aged 14, daughter of Giles Brydges, 3rd Baron Chandos and maid of honour to Elizabeth I, 1589.
7. Hans Eworth – Hans Eworth was a Flemish painter active in England in the mid-16th century. Along with other exiled Flemings, he made a career in Tudor London, painting allegorical images as well as portraits of the gentry, about 40 paintings are now attributed to Eworth, among them portraits of Mary I and Elizabeth I. Eworth also executed commissions for Elizabeths Office of the Revels in the early 1570s. Nothing is known of Eworths early life or training, as Jan Euworts, he is recorded as a freeman of the artists Guild of St Luke in Antwerp in 1540. A Jan and Nicholas Ewouts, painter and mercer were expelled from Antwerp for heresy in 1544, by 1545 Eworth was resident in London, where he is well recorded from 1549. Eworths earliest surviving works date from 1549 to 1550. The original — signed with the HE monogram Eworth consistently used — was donated to the Courtauld Institute of Art by Lord Lee of Farnham in 1932, the painting was in badly damaged condition when it was donated to the Institute, although it has subsequently been conserved and restored. Although there is no evidence that Eworths most important patron was the Catholic queen Mary I. All his known portraits of Mary I appear to be variants of a portrait in the National Portrait Gallery, London which is signed HE, a second portrait, now in the Society of Antiquaries collection, is also signed and dated 1554. Two other portraits show Mary I in later fashions and are thought to have painted between 1555 and Marys death in 1558. Another is in the collection of Trinity College, Cambridge, over the next decade, Eworth continued to paint portraits of the aristocracy, including paired portraits of the Duke of Norfolk and his second wife and of the Earl and Countess of Moray. Despite the frequent appearance of a characteristic HE monogram, the attribution of works to Eworth—and the identification of his sitters—remains in flux, Eworths last known works date from 1570-3. Like many other artists of the Tudor court, Eworth was also engaged in decorative work, payment records show that Eworth was designing for the Office of the Revels as late as 1573, and he is believed to have died in 1574. The Portrait of Sir John Luttrell, A Tudor Mystery, London, Cooper, Tanya, A Guide to Tudor & Jacobean Portraits, National Portrait Gallery, London,2008, ISBN 978-1-85514-393-7 Cooper, Tanya. Hans Eworth, Four case studies of painting methods and techniques, in The Concise Grove Dictionary of Art. Cust, Lionel, The Painter HE, Second Annual Volume of the Walpole Society 1912-1913, Oxford & London, hearn, Karen, ed. Dynasties, Painting in Tudor and Jacobean England 1530-1630Hans Eworth – Mary I by Hans Eworth, 1554
8. Master of James IV of Scotland – The Master of James IV of Scotland was a Flemish manuscript illuminator and painter most likely based in Ghent, or perhaps Bruges. Circumstantial evidence, including several larger panel paintings, indicates that he may be identical with Gerard Horenbout and he was the leading illuminator of the penultimate generation of Flemish illuminators. He has been called one of the finest illuminators active in Flanders around 1500, stylistically, the Masters miniatures are distinguished by their collections of robust and unidealized figures, set against colorful landscapes and detailed interiors. Most importantly, the Master was interested in experimenting with the layout of his drawings on the page, using various illusionistic elements, he often blurred the line between the miniature and its border, frequently using both in his efforts to advance the narrative of his scenes. The Masters work is associated with the work of the Master of the Lübeck Bible. On large projects he collaborated with other masters. Gerard Horenbout was court painter, from 1515 to about 1522, to Margaret of Austria, Regent of the Netherlands. He then went, with his son Lucas Horenbout and daughter Suzanna, to England, where he was recorded in 1528, susanna, who was also an illuminator, is recorded in 1529 as married to a John Palmer and in EnglandMaster of James IV of Scotland – Tree of Jesse by the Master
9. Master of the Female Half-Lengths – The Master of the Female Half-Lengths was a painter, or likely a group of painters of a workshop, active in the sixteenth century. The name was given in the 19th century to identify the maker or makers of a body of work consisting of 67 paintings to which since 40 more have been added. The works were apparently the product of a workshop that specialized in small-scale panels depicting aristocratic young ladies at half-length. The ladies are engaging in activities such as reading, writing. Some of the women are represented with an ointment jar, the attribute of Mary Magdalene, there is no agreement on the Master’s identity and the place and period of his activity. Antwerp, Bruges, Ghent, Mechelen and the French court have been proposed for the location of his workshop, estimates for his period of activity vary from the early to the late 16th century. Generally, it is believed the master was active in the early 16th century, certain similarities between the Masters work and that of the Bruges artists Ambrosius Benson and Adriaen Isenbrant have also been observedMaster of the Female Half-Lengths – Isabel of Portugal at the Museu Nacional de Arte Antiga
10. Quentin Matsys – Quentin Matsys was a painter in the Flemish tradition and a founder of the Antwerp school. He was born at Leuven, where legend states he was trained as an ironsmith before becoming a painter, Matsys was active in Antwerp for over 20 years, creating numerous works with religious roots and satirical tendencies. Most early accounts of Matsys life are composed primarily of legend, according to J. Molanus Historiae Lovaniensium Matsys is known to be a native of Leuven with humble beginnings as an ironsmith. One of four children, Matsys was born to Joost Matsys, documented donations and possessions of Joost Matsys indicate that the family had a respectable income and that financial need was most likely not the reason Matsys turned to painting. During the period in which Matsys was active in Antwerp he took only four apprentices, Arian van Overbeke, Willem Muelenbroec, Eduart Portugalois and it is widely believed that Joachim Patinir studied with Matsys at some point during his career and contributed to several of his landscapes. Lack of guild records during this time leaves Matsys travels to Italy, for the most part, foreign influences on Matsys are inferred from his paintings and are considered to be a large portion of the artists training during the 16th century. During the greater part of the 15th century, the centres in which the painters of the Low Countries most congregated were Tournai, Bruges, Ghent, Leuven gained prominence toward the close of this period, employing workmen from all of the crafts including Matsys. Not until the beginning of the 16th century did Antwerp take the lead which it afterward maintained against Bruges, Ghent, Brussels, as a member of Antwerps Guild of Saint Luke, Matsys is considered to be one of its first notable artists. Although the roots of Matsys training are unknown, his style reflects the qualities of Dirk Bouts. When Matsys settled at Antwerp at the age of twenty-five, his own style contributed importantly to reviving Flemish art along the lines of Van Eyck, Matsys departed from Leuven in 1491 when he became a master in the guild of painters at Antwerp. He also painted altarpieces and triptych panels, the most famous of which was built for the Church of Saint Peter in Leuven. Matsys work is considered to contain strong religious feeling—characteristic of traditional Flemish works—and is accompanied by a realism that often favored the grotesque, Matsys works generally reflect earnestness in expression, minutely detailed renderings, and subdued effects in light and shade. Like most Flemish artists of the time he paid a great deal of attention to jewelry, edging of garments, strenuous effort is devoted to the expression of individual character. A satirical tendency may be seen in the pictures of merchant bankers, revealing their greed and avarice. His other impulse, dwelling on the feelings of tenderness, may be noted in two replicas of the Virgin and Child at Berlin and Amsterdam, where the ecstatic kiss of the mother seems rather awkward. An expression of acute despair may be seen in a Lucretia in the museum at Vienna, the remarkable glow of the colour in these works, however, makes the Mannerist exaggerations palatable. Matsys had considerable skill as a portrait painter and his Ægidius which drew from Thomas More a eulogy in Latin verse, is but one of many, to which one may add the portrait of Maximilian of Austria in the gallery in Amsterdam. In this branch of his practice, Matsys was greatly influenced by his fellow countryman Jan Mabuse, Matsys portraiture exhibits highly personal and individual emotional characteristics that reflect his adherence to realism as a techniqueQuentin Matsys – Quentin Matsys, engraved by Joachim von Sandrart for his Teutsche Akademie.
11. Peter Paul Rubens – Sir Peter Paul Rubens was a Flemish/Netherlandish draughtsman and painter. He is widely considered as the most notable artist of Flemish Baroque art school, the catalogue of his works by Michael Jaffé lists 1,403 pieces, excluding numerous copies made in his workshop. His commissioned works were mostly history paintings, which included religious and mythological subjects and he painted portraits, especially of friends, and self-portraits, and in later life painted several landscapes. Rubens designed tapestries and prints, as well as his own house and he also oversaw the ephemeral decorations of the royal entry into Antwerp by the Cardinal-Infante Ferdinand in 1635. His drawings are mostly extremely forceful but not overly detailed and he also made great use of oil sketches as preparatory studies. For altarpieces he painted on slate to reduce reflection problems. Rubens was born in the city of Siegen to Jan Rubens and he was named in honour of Saint-Peter and Paul, because he was born on their solemnety. His father, a Calvinist, and mother fled Antwerp for Cologne in 1568, after increased religious turmoil and persecution of Protestants during the rule of the Spanish Netherlands by the Duke of Alba. Jan Rubens became the adviser of Anna of Saxony, the second wife of William I of Orange. Following Jan Rubens imprisonment for the affair, Peter Paul Rubens was born in 1577, the family returned to Cologne the next year. In 1589, two years after his fathers death, Rubens moved with his mother Maria Pypelincks to Antwerp, religion figured prominently in much of his work and Rubens later became one of the leading voices of the Catholic Counter-Reformation style of painting. In Antwerp, Rubens received a Renaissance humanist education, studying Latin, by fourteen he began his artistic apprenticeship with Tobias Verhaeght. Subsequently, he studied under two of the leading painters of the time, the late Mannerist artists Adam van Noort. Much of his earliest training involved copying earlier works, such as woodcuts by Hans Holbein the Younger. Rubens completed his education in 1598, at time he entered the Guild of St. Luke as an independent master. In 1600 Rubens travelled to Italy and he stopped first in Venice, where he saw paintings by Titian, Veronese, and Tintoretto, before settling in Mantua at the court of Duke Vincenzo I Gonzaga. The colouring and compositions of Veronese and Tintoretto had an effect on Rubenss painting. With financial support from the Duke, Rubens travelled to Rome by way of Florence in 1601, there, he studied classical Greek and Roman art and copied works of the Italian mastersPeter Paul Rubens – Self-portrait, 1623, Royal Collection
12. Michael Sittow – Michael Sittow, also known as Master Michiel, Michel Sittow, Michiel, Miguel and many other variants, was a painter from Reval who was trained in the tradition of Early Netherlandish painting. For most of his life, Sittow worked as a portrait painter, for Isabella of Castille, the Habsburgs and others in Spain. He was one of the most important Flemish painters of the era, Michael Sittow was born in 1468 or 1469 in Reval to a wealthy family. His father was painter and wood-carver Clawes van der Sittow and his mother was Margarethe Molner and he was the eldest of three brothers, followed by Clawes and Jasper. The origins of Clawes van der Sittow are not clear - he might have originated from the village of Zittow near Wismar or he could have been of Flemish origin and he arrived in Reval in 1454 and became a citizen in 1457. Clawes was a man for an artist, owning several houses in the city. He became an assessor in the guild in 1479. Clawes van der Sittow married Margarethe Molner in 1468 and she was a Swedish-speaking Finn and the daughter of a wealthy merchant Olef Mölner. At first Michel Sittow studied painting and sculpture in his fathers workshop, while attending the city school to learn Latin, arithmetic, after his fathers death in 1482, Michel continued his studies in Bruges from 1484 to 1488. It is thought that he worked as an apprentice in the leading Netherlandish workshop of Hans Memling, Michel Sittow became an independent master between 1488 – 1491/92, although he did not become a master in the local Bruges guild. Working as a painter, he travelled in southern Europe, as traits of French. From 1492 Sittow worked in Toledo, Spain for Isabella of Castille as court painter, Isabella assembled academicians and painters from several countries to her court. Sittow became known as Melchior Alemán in the court, although letters of Emperor Maximilian and Margaret of Austria speak also of a painter Mychel Flamenco, Sittow was the highest-paid painter in the queens court, receiving a salary of 50,000 maravedis a year. Sittow collaborated with Juan de Flandes on the series of panels of the lives of Christ. Sittow probably visited London in about 1503–05, although this is not documented, two other Sittow paintings of Mary Magdalen and the Virgin Mary appear to use the same model, who may also be a younger Catherine, before she left for England. When Philip died in 1506, Sittow lost his patron again, in the same year, he returned to Reval where his stepfather, the glass-maker Diderick van Katwijk had seized his parents houses, as Michaels mother had died in 1501. Van Katwijk had journeyed to Brabant in 1501 and offered a property settlement to Sittow that the latter refused, as the local court did not support Sittows claim for inheritance, he had to go to the Court of Higher Instance in Lübeck. He won the case in Lübeck, but could not officially register his parents houses as his property until the death of his stepfather in 1518, Michael Sittow joined the Guild of Kanut, the local painters guild in 1507 and married in 1508Michael Sittow – Diego de Guevara by Sittow, ca. 1517