Antwerp, c.1570 – Nuremberg 1623
Son and pupil of Lucas van Valckenborch, Frédéric van Valckenborch belonged to a dynasty of painters who, because of their sympathies for the Reformation, were forced to flee the religious persecutions inflicted upon them by the troops of the Duc d’Albe in 1566. They went into exile in Germany and only established themselves in Antwerp around 1570. The first years of his life were therefore spent travelling, especially since he probably accompanied his father when he became the painter of Archduke Matthias, the new governor of the Netherlands, and followed his protector on his journeys to Austria, Prague, Linz or Nuremberg.
Little is known about the training of the young Frédéric, other than he was very probably influenced by the delicate and meticulous artwork of his father and his uncle Martin, who shared the same studio.
Later, he went to Italy and spent a long time in Venice, tirelessly studying the paintings of Titian, Tintoretto and other of the town’s artists, who would leave a lasting mark on his work. This is particularly evident in his figures, which reveal the lessons of late Italian mannerism.
Upon his return, he set up near his father in Nuremberg: he had already been there in 1612, date on which he received a prestigious order to paint a triumphal arch for the emperor’s entrance into the town. Furthermore, he painted views of towns, markets and fairs, which he filled with a great many lively and animated figures, characterised by their picturesque nature and their elaborate poses in the mannerist style. However, he mainly specialised in fantasy landscapes. It is in this very particular genre that he shows the full measure of his talent, particularly in his use of the space, constructed in successive planes and often covered with rocks, leaning buildings and shady forests, bathed in a trembling light painted on in small strokes. This dark, tormented atmosphere gives these evocations an unexpected pre-Romantic character.
