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(b ?Milan, 1527; d Milan, July 11, 1593).

Italian painter, draughtsman and tapestry designer, active also in Austria and Bohemia. He came from a distinguished Milanese family that included a number of archbishops of the city; his father was the painter Biagio Arcimboldo. Giuseppe is first documented in 1549, working with his father for Milan Cathedral; he received payments until 1558 for supplying paintings, designs for an altar baldacchino and stained-glass windows for the cathedral: the Story of Lot and the Life of St Catherine in the south transept windows are usually attributed to him. He collaborated with Giuseppe Meda in designing the gonfalone of St Ambrose in Milan, probably sometime soon after 1558. In 1556 he received a commission to paint the south wall and vault of the south transept of Monza Cathedral, also in Lombardy, a work that must have been completed by 1562. Portions of a fresco of the Tree of Jesse on the south wall there can be attributed to him. In ...

(b Aelst [now Aalst], Aug 14, 1502; d Brussels, Dec 6, 1550).

South Netherlandish painter, sculptor, architect and designer of woodcuts, stained glass and tapestries. Son of the Deputy Mayor of the village of Aelst, he was married twice, first to Anna van Dornicke (d 1529), the daughter of the Antwerp painter Jan Mertens, who may have been his teacher; they had two children, Michel van Coecke and Pieter van Coecke II (before 1527–59), the latter of whom became a painter. He later married Mayken Verhulst, herself a painter of miniatures and the mother of three children, Pauwel, Katelijne and Maria; they are shown with their parents in Coecke’s Family Portrait (Zurich, Ksthaus). Mayken is credited with having taught the technique of painting in tempera on cloth to her son-in-law, Pieter Bruegel the elder, who married Maria in 1563. (For family tree see Bruegel family.) Van Mander also stated that Bruegel was Coecke’s apprentice, an allegation no longer universally accepted in view of their substantial stylistic differences. Although the names of other students of Coecke’s, including ...

(b ’s Hertogenbosch, bapt May 9, 1596; d Antwerp, Dec 31, 1675).

Flemish glass-painter, draughtsman, painter and tapestry designer. His reputation rests primarily on his drawings and oil sketches, of which several hundred survive, intended mainly as designs for stained-glass windows and prints. He was strongly influenced by the work of other important Flemish artists of the late 16th century and early 17th, notably Rubens, whose motifs and stylistic elements he frequently reworked in his own compositions.

He was the son of the glass painter Jan (Roelofsz.) van Diepenbeeck (d 1619) and first acquired the skills of his trade in his father’s workshop in ’s Hertogenbosch. In 1622–3 he became a master glass painter in the Guild of St Luke in Antwerp; it is possible that his move from ’s Hertogenbosch in 1621 was related to the war negotiations that were underway that year, which particularly threatened the northern border provinces of the southern Netherlands, where ’s Hertogenbosch was located....

[Neunhauser-Kriechbaum]

(fl 1450–72).

German painter, sculptor, glass painter, and embroiderer. He took over the workshop of the Munich painter Conrad Sachs around 1450. In 1468 he received the Aubing tithe from Polling Abbey, probably as payment for work. Shortly afterwards he contracted to deliver ‘ein grosse Tafel mit pildren, flügn und anderen notdurften’ (a big altar panel with pictures, wings, and other essentials) to Göttweig Abbey (Wachau, Lower Austria); this altar, dedicated to the Virgin, was completed after Ulrich’s death by his ?stepbrother Martin. Erasmus Grasser probably took over Ulrich’s workshop.

Ulrich painted a view of the city (destr.) formerly in the Munich Rathaus. Undocumented works attributable to him are: the painted Crucifixion (c. 1455) in the Frauenkirche at Munich; the figures of enthroned Virgins at Maria Ramersdorf and Andechs (c. 1467 or after); the altar fragments at the former Cistercian abbey of Fürstenfeldbruck (c. 1470); and the enthroned Virgin in the shrine of the winged altar at Maria Laach am Jauerling (Wachau, Lower Austria), which must have been carved ...

[Jean de Bruxelles]

(fl 1498–1521).

South Netherlandish painter and designer of tapestry cartoons, stained-glass windows, and sculpture. He is first documented in 1498, as a Brother of Our Lady of the Seven Sorrows, and later became court painter at Mechelen and Brussels to Margaret of Austria, Regent of the Spanish Netherlands. Jan’s widely imitated tapestry designs, filled with graceful, melancholic figures set in a mixture of Late Gothic and Renaissance architecture, helped to create a uniform style in Brussels tapestries in the first quarter of the 16th century. The basis for attributing tapestries to Jan, or his workshop, is the documented series of the Story of Herkinbald (Brussels, Musées Royaux A. & Hist.), which was made for the Confraternity of the Holy Sacrament at Leuven and for the design for which Jan was paid 2.5 Rhenish guilders and some wine in 1513. His collaborators were the painter ‘Philips’ [Maître Phillipe] and the weaver ‘...