Podcasts Archives - The Phoebus Foundation

With Koen Fillet and Sven Van Dorst, head of restoration at The Phoebus Foundation studio.

The Madonna and Child belongs to the established repertoire of European art. Precisely for that reason, Pieter Claeissens II’s Virgin and Child with Crown Imperial and Llama calls for closer attention. Behind the familiar scene lie unexpected accents: exotic flowers and, almost unnoticed, a llama in the landscape. In this episode of Phoebus Focus, we follow the trail of these curious details. Although Claeissens never travelled far, fauna and flora from South America and Asia nonetheless found their way into his work, through an exceptional natural history manuscript and the international networks of his time. What appears to be a traditional devotional image thus opens onto a window on an early modern world in motion.

Pieter Claeissens II, Virgin and Child with Crown Imperial and Llama. The Virgin and Child in a landscape with exotic flowers, a llama, and an angel holding a crown.
Pieter Claeissens II, Virgin and Child with Crown Imperial and Llama, 1614-1623
Detail of the painting showing a red lily, anemone, white lily, and hyacinth.
Detail of the painting showing a combination of red lily, anemone, white lily, and hyacinth
Detail showing Crown Imperial (Fritillaria imperialis) and a daisy.
Detail of the painting showing Crown Imperial and a daisy
Detail of the painting showing a llama among trees and foliage in a landscape.
Detail showing a llama
Detail showing wild daffodil, hollyhock, and lady's slipper orchid among foilage.
Detail showing a wild daffodil, hollyhock, and lady’s slipper
Detail showing a snake's head fritillary among foliage.
Detail met kievitsbloem
Detail showing anemone, tulip and dandelion.
Detail showing anemone, tulip and dandelion
Detail showing deer and other small animals in a wooded, hilly landscape.
Detail of the painting showing deer and other small animals

Find out more in our publication:

Cover of the Flowers Forever by Sven Van Dorst showing a richly detailed floral still life and the subtitle Mastery and Meaning of flower paintings in the low countries (1600-1700).

With Koen Fillet and Lotte Kokkedee and Anna Tummers. Lotte Kokkedee is a PhD candidate on the European research project
ARTDETECT: Smart Ways to Detect Forgeries, led by professor dr. Anna Tummers
at Ghent University.

In this episode, they take a closer look at Two Fisher Boys by Frans Hals. What seems light-hearted at first reveals itself as a subtle play of smiles and appearances, where Hals shows far more than youthful charm and captures the human condition with striking clarity and immediacy.


Frans Hals, Two Fisherboys, ca. 1634–1637. Lively genre painting of two laughing boys in simple rural clothing, one carrying a basket, set against a cloudy sky and countryside landscape, emphasizing movement, youth, and spontaneity in the Dutch Golden Age.
Frans Hals, Two Fisherboys, c.1634-1637

Want to know more? Order the accompanying Phoebus Focus publication!

In this first episode about the Boerentoren, Koen Fillet speaks with Véronique Van Humskerke, public historian at GeheugenCollectief, about the impressive book dedicated to this Antwerp icon. Discover how this leading publication came to life and the surprising stories that emerged along the way. It is now available in four languages: Dutch, English, French and German.

The Farmers’ Toswer – Story of an Icon


Historic black-and-white photograph of the construction of the Boerentoren in Antwerp, showing the steel framework of the skyscraper rising above surrounding city buildings, c. 1930s.
Historic black-and-white photograph of Antwerp during the construction of the Boerentoren, showing the steel framework of the skyscraper overlooking a busy city square with trams, cars, and surrounding buildings, c. 1930s.
Historic black-and-white photograph of a construction worker standing on a steel beam high above Antwerp during the construction of the Boerentoren, with rooftops and church towers far below, c. 1930s.

With Koen Fillet and Leen Kelchtermans, Head of Research and Publications at The Phoebus Foundation.

Flowers may wither and ships may sink, but Mary Herbert’s youthful radiance will last forever. Beneath the pearls and silk you meet a woman ahead of her time – a countess, a writer and a patron who knew exactly what she was doing.


Portrait of Mary Sidney Herbert, Dowager Countess of Pembroke, c. 1614–1616. Formal court portrait of a noblewoman wearing richly decorated, pearl-adorned court dress with a lace ruff, set within an interior opening onto a landscape, characteristic of early seventeenth-century English court portraiture.
Unknown Master, Portrait of Mary Sidney Herbert, Dowager Countess of Pembroke, c.1614-1616

Want to know more? Order the accompanying Phoebus Focus publication!

With Koen Fillet and Jan Dirk Baetens, Assistant-Professor of nineteenth-century art at Radboud University Nijmegen.

A forgotten master, a duchess in a gesture of compassion. Henri Leys does not evoke the past to remember it, but to understand it.


Henri Leys, Mary of Burgundy Distributing Alms, 1858. Historical scene depicting Mary of Burgundy giving alms to the poor and children, set against a late medieval cityscape with towers and timber-framed houses, painted in a restrained, narrative style.
Henri Leys, Mary of Burgundy Distributing Alms, 1858

Want to know more? Order the accompanying Phoebus Focus publication!

With Koen Fillet and Dr Katharina Van Cauteren, Chief of Staff of The Phoebus Foundation and Executive Director of The Phoebus Foundation Public Benefit Foundation.

A story of deeply human emotions – devotion to a husband imposed upon her, anxieties about children, fear of untimely death, yet also of a love of beauty, a sense of quality and a secret eye for luxury.


Marcus Gheeraerts II, Portrait of Frances Bell, Lady Dering, c. 1596–1603. Formal portrait of a young noblewoman wearing a lace ruff and translucent headdress, dressed in a richly embroidered gown with floral motifs, set against a dark background, characteristic of English court portraiture around 1600.
Marcus Gheeraerts II, Portrait of Frances Bell, Lady Dering, c.1596-1603

Want to know more? Order the accompanying Phoebus Focus publication!

In this second episode on the Boerentoren, Koen Fillet visits the site itself. Guided by Inez Van de Leest, he explores the tower’s century-old structure, its monumental features, and the hidden details that usually remain unseen by the public.

Would you like to explore the Boerentoren yourself? Book your visit now.


Want to know more? Read The Farmers’ Tower – Story of an Icon – The Phoebus Foundation!

Book cover of De Boerentoren – Story of an Icon, featuring a historic photograph of Antwerp during the construction of the Boerentoren, with the tower’s steel framework rising above the city.
Book cover of De Boerentoren – Story of an Icon, featuring a historic photograph of Antwerp during the construction of the Boerentoren, with the tower’s steel framework rising above the city.

In the latest episode of our podcast, Koen Fillet talks with writer and singer Rick de Leeuw about Het komt allemaal goed, a unique exhibition in the Keizerskapel in Antwerp. Rick was deeply inspired by twelve artworks from our collection and wrote personal texts and new songs to accompany them. Art historian Dr Katharina Van Cauteren brings her sharp insights and provides the necessary historical context.

Together, they delve into the stories behind the works and explore how image, word and music can reinforce and unexpectedly touch one another. The result is an intimate, almost theatrical experience that invites you to look and listen differently.


Curious? Be sure to drop by and let yourself be surprised. The exhibition is free to visit until 26 April 2026.

Gustave Van de Woestyne, Waiting, 1925. Introspective painting of a seated woman in a sparse interior by a window, arms crossed and gaze turned away; a book, a bowl of fruit, and a flower rest on the table, enhancing the quiet, contemplative mood.
Gustave Van de Woestyne, Waiting, 1925
Frits Van den Berghe, Obsession, 1919. Expressionist painting depicting a looming dark figure in the foreground and a seated woman on a bed within a vividly colored, claustrophobic interior, rendered in distorted forms and strong contrasts.
Frits Van den Berghe, Obsession, 1919
Erasmus II Quellinus, The Beheading of John the Baptist, c. 1645. Dramatic history painting depicting John the Baptist kneeling at the moment of his execution, surrounded by soldiers and onlookers in a monumental interior, marked by strong light contrasts and expressive gestures.
Erasmus Quellinus II, The Beheading of John the Baptist, c.1645

With Koen Fillet and Leen Kelchtermans, Head of Research and Publications at The Phoebus Foundation.

In this episode, Dr Leen Kelchtermans and host Koen Fillet uncover the personality of Johannes Gansacker I, an ambitious entrepreneur from seventeenth-century Antwerp. His portrait, painted by Antoon Van Dyck, tells a story of self-image and social ascent. A sharp look at two men driven by the same urge to rise.


Anthony van Dyck, Portrait of Johannes Gansacker, c. 1620–1621. Formal portrait of a man dressed in black with a white collar, seated before a red drapery with a distant landscape view, painted in Van Dyck’s refined and psychologically nuanced style.
Anthony Van Dyck, Portrait of Johannes Gansacker I, c.1620-1621

Want to know more? Order the accompanying Phoebus Focus publication!

In this second episode, we once again take you on a journey into the fascinating world of historical cartography, together with Anne-Rieke van Schaik. This time, old maps of the Scheldt take centre stage – maps that not only mark rivers and borders, but also reveal traces of military confrontations, political tensions, and forgotten events from the seventeenth century.

Let yourself be carried away on a journey across maps of past worlds – a bird’s-eye view through time, landscape, and conflict.


Claes Jansz. Visscher, Map of the Scheldt and Zandvliet and the Battle of the Slaak, 1631–1632. Detailed seventeenth-century map of the Scheldt delta showing rivers, fortifications, and towns, combined with a cartographic depiction of the naval battle.
Claes Jansz Visscher, Map of the Scheldt river and Zandvliet, and the 1631 Battle of the Slaak, 1632

With Koen Fillet and Anne-Rieke van Schaik, PhD candidate at the University of Amsterdam and author of Groundbreakers.

In this first episode of the new season, we dive into the fascinating world of the Leo Belgicus – iconic lion-shaped maps from the sixteenth and seventeenth centuries. Together with Anne-Rieke van Schaik, we discover how maps are more than just tools for navigation: they tell stories of power, war, and identity. Be swept away by the art of mapmaking and get a unique glimpse into her book Groundbreakers, featuring the remarkable map collection of The Phoebus Foundation.


Hessel Gerritsz., Leo Belgicus, 1658. Allegorical map of the Low Countries shaped as a lion, with provinces, cities, and waterways meticulously detailed and richly embellished with maritime and cartographic elements.
Hessel Gerritsz, Leo Belgicus, 1656

With Koen Fillet and Anne Adriaens-Pannier, Spilliaert expert.

A lone walker at dawn in Ostend, Léon Spilliaert (1881-1946) is entranced by the bleak and ominous desolation of the promenade. A fascination with spatiality and the expression of infinity underlie the numerous dyke scenes Spilliaert created between 1907 and 1909, heralding a unique, formal innovation. Learn more about the compelling Kursaal and Promenade that is the centrepiece of this Phoebus Focus episode.

Léon Spilliaert, Kursaal and Seafront, 1908. Quiet, near-empty coastal scene with a long seafront promenade and the silhouette of the Kursaal, viewed in deep perspective beneath a pale sky, characteristic of Spilliaert’s introspective and atmospheric style.
Léon Spilliaert, Kursaal and Promenade, 1908

Want to know more? Order the accompanying Phoebus Finding!

With Koen Fillet and Leen Kelchtermans, Researcher of The Phoebus Foundation.

Discover the story of The Abduction of Europa by Cornelis Schut, where the artist’s brushstrokes unknowingly predicted a surprising twist!

https://open.spotify.com/episode/3hFUfamtm03HGhajND5n1j?si=1L-QJzUlTMClvZypv0TMUQ
Cornelis Schut, The Abduction of Europa, c. 1631–1635. Baroque mythological scene depicting Europa carried away by Jupiter in the guise of a white bull, surrounded by waves, flying putti, and swirling drapery, rich in movement and dramatic light.
Cornelis Schut, Abduction of Europac.1631-1635

Want to know more? Read the accompanying Phoebus Finding!

With Koen Fillet and Sven Van Dorst, head of restoration at The Phoebus Foundation studio.

The closer you look, the more you see. The fragile reflection of a window frame in the glass of the vase. The crystalline drops of water on the table. The soft glow of the smouldering wick. The garden spider among the mandarin leaves. Jan Davidsz. De Heem did not paint just any old bouquet. He presents us with the universe in a vase of flowers.

https://open.spotify.com/episode/7vWaruJVkumDSGXAeSERuE?si=JjJb3B9zR-iWBpgVAY8pbQ
Jan Davidsz. de Heem, Vase of Flowers with  Vanitas Symbols, c. 1667–1670. Elaborate floral still life featuring roses, tulips, and other blooms in a glass vase, combined with an opened oyster, an orange, ears of wheat, and smoking implements on a table, alluding to abundance and the transience of life.
Jan Davidsz. De Heem, Vase of Flowers with Vanitas Symbols, c.1667-1670

Want to know more? Discover the accompanying publication!

With Koen Fillet and Naomi Meulemans, project assistant and restorer of modern and contemporary art at The Phoebus Foundation.

Who is the Chilean artist Roberto Matta, and how has he evolved in the art world? Naomi Meulemans, restorer and project assistant at The Phoebus Foundation reveals the fascinating evolution of this influential figure of surrealism by taking you behind the layers of paint in his enchanting artworks!

https://open.spotify.com/episode/40d2nQeu9lGv0wHtM3Jobc?si=xhVl6klGT_a5cSPmOo0iQg
Roberto Matta, Amorphous Figures, 1940. Surrealist painting featuring abstract, organically distorted figures in a dreamlike landscape, composed of floating forms, translucent structures, and contrasting color accents.
Roberto Matta, Amorphous Figures (in daylight), 1940
Roberto Matta, Amorphous Figures (under UV light), 1940. Surrealist painting with abstract, organically distorted figures in a nocturnal landscape, where UV lighting reveals glowing highlights and concealed structures.
Roberto Matta, Amorphous Figures (under UV light), 1940

Want to know more? Order the Phoebus Focus publication!

With Koen Fillet and art historian Dr Wendy Wauters.

The Phoebus Foundation’s collection includes an unusual painting which has an equally unusual title: Head-Baker. A baker’s servant, frozen in motion, with his cleaver raised high in the air, is poised to decapitate the man sitting in front of him with a well-aimed swing. The mysterious title combined with the strange scene raises many questions. Was there really a baker running around decapitating his customers? Is the man administering a humiliating punishment, carrying out an early form of plastic surgery, or is something else going on?

https://open.spotify.com/episode/2uLS1EhfwoZoE8uu6KnJrg?si=QwRBqFG5QAmXTLyeQ7UAxA
Unknown master, Head-Baker, c. 1600–1630. Bustling genre scene set in a workshop where human heads are kneaded, baked, and traded, populated by numerous figures in seventeenth-century dress, satirical and grotesque in tone.
Unknown Master, Head-Bakerc.1600-1630
Detail from Head-Baker (Unknown master, c. 1600–1630): interior of a bakery where human heads are placed into an oven and washed in tubs, with shelves of heads lining the background.
Detail, Head-Baker
Detail from Head-Baker (Unknown master, c. 1600–1630): figures in seventeenth-century dress gathered around seated individuals whose heads are being worked on, with baskets of heads and a grotesque, satirical depiction of an artisanal process.
Detail, Head-Baker
Detail from Head-Baker (Unknown master, c. 1600–1630): scene in a workshop-like interior where human heads are cut, shaped, and collected, showing seated customers, worktables, and a basket filled with heads, rendered in a satirical and grotesque manner.
Detail, Head-Baker

Want to know more? Order the Phoebus Focus publication!

With Koen Fillet and Dr Paul Huvenne, art historian and former director of KMSKA.

In this episode of Phoebus Focus, host Paul Huvenne explores the world of sixteenth-century portraits, shedding light on the developments and creative innovations within this genre.


Curious to learn more? Explore the accompanying publication.

With Koen Fillet and Dr Katharina Van Cauteren, chief of staff of The Phoebus Foundation Chancellery.

In this episode of the Phoebus Focus podcast, Quispe Tito’s ‘Holy Family in Nazareth’ takes center stage. Katharina Van Cauteren and Koen Fillet explore the fascinating connections between a painting from a brand-new world and a print from a much older one. Holy Family bridges two cultures: the thinking of the Jesuits and the heritage of the Incas. What follows is a story about artistic and cultural legacies.


Diego Quispe Tito, The Holy Family in Nazareth, c. 1675. Religious scene depicting Mary, Joseph, and the Christ Child in a carpenter’s workshop, assisted by angels, rendered in rich colors and decorative patterns characteristic of colonial Andean art.
Diego Quispe Tito, Holy Family in Nazareth, c.1675
Hiëronymus Wierix,Jesus Gathers Up Chips of Wood while Saint Joseph Chops Tree Trunks and Mary Winds Thread, c. 1600. Finely detailed engraving of the Holy Family in a domestic workshop scene, showing Joseph as a carpenter, Mary spinning yarn, and the Christ Child collecting wood shavings.
Hieronymus Wierix, Jesus Gathers Up Chips of Wood while Saint Joseph Chops Tree Trunks and Mary Winds Threadc.1600
Hiëronymus Wierix, Jesus Sweeps the Floor while Saint Joseph Splits a Beam and Mary Cooks, c. 1600. Finely detailed engraving of the Holy Family in an interior, showing Jesus measuring and assisting, Joseph working wood, and Mary cooking at the hearth, emphasizing labor, order, and domestic virtue.
Hieronymus Wierix, Jesus Sweeps the Floor while Saint Joseph Splits a Beam and Mary Cooksc.1600
Hiëronymus Wierix, Jesus Helps Saint Joseph Saw while Mary Spins, c. 1600. Finely detailed engraving of the Holy Family in an outdoor carpentry scene, showing Joseph and Jesus working wood while Mary sits spinning, accompanied by angelic children.
Hieronymus Wierix, Jesus Helps Saint Joseph Saw while Mary Spinsc.1600
Amsterdam, Rijksmuseum

Want to know more? Discover the accompanying Phoebus Focus publication.

With Koen Fillet and Leen Kelchtermans, Researcher of The Phoebus Foundation

This podcast episode reveals new insights into the life and work of Baroque composer Henricus Liberti, thanks to research by Dr. Leen Kelchtermans’ into surviving archival documents.

https://open.spotify.com/episode/4neoobao50kWZBp5NLdh8Z?si=ruGsd_yKSLuBYN3Xf3scCA
Anthony van Dyck, Portrait of Henricus Liberti, c. 1627–1632. Intimate portrait of a young man with curly hair, dressed in dark clothing with white cuffs, leaning against a balustrade and gazing pensively aside, painted in Van Dyck’s refined and expressive style.
Anthony Van Dyck, Portrait of Henricus Libertic.1627-1632
Pieter de Jode after Anthony van Dyck, Portrait of Henricus Liberti, c. 1645–1648. Engraving of a young man with curly hair, dressed in dark attire with a chain, leaning against a balustrade and holding a sheet of musical notation, gazing thoughtfully to the side.
Pieter De Jode II after Anthony Van Dyck, Portrait of Henricus Liberti, in: Anthony Van Dyck, Icones Principum Virorum, 1645-1646. Amsterdam, Rijksmuseum

Want to know more? Discover the Phoebus Finding.

With Koen Fillet and Dr Paul Huvenne, art historian and former director of KMSKA.

Discover the profound meaning behind Constant Permeke’s powerful brushstrokes and draw inspiration from the fascinating story of his life and work.


Constant Permeke, The Black Bread, 1923. Expressionist painting showing two solid, simplified figures seated around a table with bread and bowls, rendered in dark earthy tones and rough brushwork, evoking labor, poverty, and austerity.
Constant Permeke, The Black Bread, 1923

Want to know more? Order the accompanying publication!

With Koen Fillet and Dr Katharina Van Cauteren, chief of staff of The Phoebus Foundation Chancellery.

The anonymous Mere-Monster of Lake Tagua Tagua is the synthesis of more than 300 years of visual tradition. At its core, it harks back to medieval encyclopaedias, but its gallant snout betrays an 18th-century identity. Indeed, the Mere-Monster appears to be pure political propaganda.


Anonymous, Mere-Monster of Tagua Tagua, ca. 1784. Fantastic depiction of a winged, demonic creature with horns, a scaly body, and a curled tail, set against a landscape background with accompanying text, characteristic of eighteenth-century natural-historical imagination.
Anonymous, Mere-Monster of Lake Tagua Tagua, c.1784

Want to know more? Order the accompanying Phoebus Focus publication.

With Koen Fillet and Leen Kelchtermans, researcher at The Phoebus Foundation

In this episode, we dive into the fascinating world of Baroque self-portraits. Together with Dr Leen Kelchtermans, we discover more about the fascinating dynamic created when artists are both the model and creator of a work of art. Furthermore, we highlight why they immortalise themselves, and where they look for inspiration. A unique look into the artistic masterminds of the past!


Anthony van Dyck, Portrait of the Antwerp Jeweller Johannes Gansacker, c. 1618–1620. Formal portrait of a man dressed in black with a white collar, seated before a red drapery with a distant landscape view, painted in Van Dyck’s elegant and refined portrait style.
Antoon Van Dyck, Portrait of Antwerp Jeweller Johannes Gansackerc.1619-20
Jan Cossiers, Self-Portrait, c. 1626–1627. Intimate self-portrait of the artist holding palette and brush, turning toward the viewer within a dark studio interior with still-life elements, painted with subtle lighting and psychological acuity.
Jan Cossiers, Self-Portraitc.1620-27
Johannes Wierix, Portrait of Frans Floris, 1572. Engraved artist’s portrait of Frans Floris seated with palette and brush, shown in three-quarter view with an intense gaze, accompanied by an inscription highlighting his reputation as an Antwerp history painter.
Johannes Wierix, Portrait of Frans Floris, 1572
Jacob Neefs after Anthony van Dyck, Title Page with Self-Portrait of Anthony van Dyck (Icones Principum Virorum), 1645–1646. Engraved title page featuring a profile bust of Van Dyck above an elaborate cartouche with allegorical figures and inscriptions, referring to his portrait series of rulers, scholars, and artists.
Anthony Van Dyck en Jacob Neefs, Title Page with Self-Portrait of Anthony Van Dyck, 1645-46
Erasmus Quellinus II, Portrait of Jan Philips Van Thielen, c. 1659–1660. Informal portrait of a man with long hair and moustache, dressed in a light-colored outfit, casually leaning against a balustrade with a garden or landscape in the background, painted in soft tones and a fluid brushwork style.
Erasmus Quellinus II, Portrait of Jan Philips Van Thielen, c.1659-60
David II Teniers, Self-Portrait at the Age of Thirty-Four, 1645. Self-portrait of the artist dressed in dark clothing with a white lace collar, standing beside a stone wall with a view onto a landscape, painted with a direct gaze and confident, loose brushwork.
David Teniers II, Self-Portrait at the Age of Thirty-Four, 1645
Albrecht Dürer, Self-Portrait, 1498. Self-assured Renaissance portrait of the artist with long curly hair and a cap, dressed in refined attire and set before a window opening onto an Alpine landscape, an early assertion of artistic identity.
Albrecht Dürer, Self-Portrait, 1498

Madrid, Museo Nacional del Prado

Want to know more? Order the accompanying publication!

Uncover the meaning behind the sixteenth-century triptych, St Luke Painting the Madonna, a cherished piece within The Phoebus Foundation collection. Through the meticulous restoration skills of Sven Van Dorst and the comprehensive art historical research conducted by Niels Schalley, this masterpiece is now revealed in its full historical and artistic glory.

Unknown master, triptych with Saint Luke Painting the Virgin (centre), Madonna Lactans (left) and a Praying Benedictine Monk (right), c. 1520–1530.
A devotional triptych showing Saint Luke at his easel in the central panel, flanked by the Virgin Mary with the Christ Child and a kneeling monk, all set within gold-framed panels against gently unfolding landscape backgrounds.
Unknown Master, St Luke Painting the Virgin and Child Triptych, centre: St Luke Painting the Virgin and Child; left wing: Virgo Lactans; right wing: Benedictine Monk in Prayer, c.1520-1530
Detail of the left-hand panel: the Holy Spirit shown as a white dove with outstretched wings, surrounded by golden rays against a dark background.
Detail of the left wing
Detail of the left-hand panel (Madonna Lactans): Mary, crowned with a golden halo, nurses the Christ Child, who also bears a halo. The scene is rendered as an intimate and tender devotional image set against a dark background.
Virgo Lactans
Detail of the central panel (Saint Luke Painting the Virgin): Saint Luke, shown with a halo and dressed in red and blue, paints Mary with the Christ Child at an easel in his studio, surrounded by painting tools and a view opening onto a landscape.
St Luke Painting the Virgin and Child
Detail of the right-hand panel (Praying Benedictine Monk): a portrait of a monk in a black habit, hands folded in prayer, set against a gentle landscape of trees and rolling hills, rendered in a restrained devotional style.
Benedictine Monk in Prayer
Unknown master, Closed Triptych with Skull and Bone, c. 1520–1530.
A stark, confrontational image of a human skull with a crossed bone on the closed wings of a triptych, painted against a dark background as a sober memento mori.
Exterior of the wings: Skull and Bone, c.1520-1530

Curious to know more? Order the accompanying Phoebus Focus publication.

The Brussels painter Adam Frans Van der Meulen (1632-1690) created quite a furore at the court of the French King Louis XIV (1638-1715). He immortalised his military triumphs, embellished with the necessary pomp and bravado, as he did the royal couple’s entry in Douai, Northern France, in 1667. In this Phoebus Focus episode, Dr Leen Kelchtermans brings various subtleties and details to light, unravelling new insights into the creation and meaning of this work of art.

Adam Frans van der Meulen, The Entry of Louis XIV and Maria Theresa into Douai in 1667, after 1667. Monumental history painting depicting a ceremonial entry with a golden carriage, surrounded by horsemen, courtiers, and a large crowd, set against an urban backdrop of fortifications and smoke-filled skies.
Adam Frans Van der Meulen, Entry of Louis XIV and Maria Theresia in Douai in 1667, after 1667

Antwerp, The Phoebus Foundation
Detail of the version in the collection of The Phoebus Foundation: horsemen behind the carriage
Detail showing an unidentified horseman riding in a ceremonial procession, surrounded by courtiers and spectators in seventeenth-century dress, with an ornate carriage in the background, version from The Phoebus Foundation collection.
Detail of the version in the collection of The Phoebus Foundation: unknown horseman
Detail showing women seated inside an elaborately decorated golden carriage, visible through glass windows and surrounded by attendants and onlookers in seventeenth-century dress, part of a ceremonial procession, version from The Phoebus Foundation collection.
Detail of the version in the collection of The Phoebus Foundation: ladies in the carriage

Want to know more? Discover the Phoebus Finding:

With Koen Fillet and Katrijn Van Bragt, Collection Consultant of The Phoebus Foundation

Within portrait painting, the child portrait holds a distinctive place. Depicting boys and girls dressed in elaborate garments and posed with a solemn, almost formal air, these images can at first seem restrained or even slightly puzzling. Yet they often carry remarkably rich and emotional stories beneath the surface. In this episode of Phoebus Focus, Katrijn Van Bragt explores the history and evolution of this fascinating genre.

Workshop of Dirk Bouts, Virgin and Child in an Enclosed Garden, 1468. Devotional late medieval painting depicting the Virgin Mary with the Christ Child in a walled garden, surrounded by symbolic plants and architecture, with an idyllic landscape in the background, evoking purity and contemplation.
Dirk Bouts (studio), The Virgin with Child in an enclosed garden, 1468
Anthony van Dyck, Portrait of William II of Orange, c. 1631. Formal child portrait of the young prince wearing a red satin robe with a black cap and feather, standing in an interior with drapery and accompanied by a small dog, painted in Van Dyck’s elegant courtly style.
Anthony Van Dyck, Portrait of Willem II of Orange, c.1631
Jacob Jordaens, As the Old Sing, So the Young Pipe, c. 1640–1645. Lively genre painting depicting a family gathered around a richly laid table, with singing adults and music-making children, surrounded by food, animals, and domestic details, functioning as a moralizing allegory about upbringing and imitation.
Jacob Jordaens, As the Old Sing, So the Young Pipe, c.1640-45

Want to know more about children’s portraits? Discover the essay Forever Young. Children of Paint and Varnish in The Bold and the Beautiful in Flemish Portraits.

In this ‘Phoebus Focus’ episode, chief of staff of The Phoebus Foundation, Dr Katharina Van Cauteren, sheds light on the various meanings and motifs behind the painting ‘Susanna and the Elders’ by the Brussels artist Hendrick De Clerck. With her expertise in De Clerck’s oeuvre, Dr Van Cauteren masterfully places the artist and his work in their art-historical and social context.

https://open.spotify.com/episode/4L5yvKIemd3U3eKTq47hlL?si=-r8D5Dn5TBe7aNDXBjTcig
Hendrick de Clerck, Susanna and the Elders, c. 1625. Biblical scene depicting Susanna confronted by two elders in a garden setting, marked by contrasting poses and expressive gestures, rendered in bright colors and a classicizing style.
Hendrick De Clerck, Susanna and the elders, c.1625
David Vinckboons, Elegant Company in a Palace Garden: Allegory of the Five Senses (detail), c. 1610–1620. Festive group gathered in a lush garden with music, food, and play, surrounded by trees and fountains, symbolically representing sight, hearing, smell, taste, and touch.
David Vinckboons, Elegant Company in a Palace Garden: Allegory of the Five Senses (detail), c.1610-1620

Want to know more? Order the accompanying Phoebus Focus publication.







With Koen Fillet and art historian Peter J.H. Pauwels

In this Phoebus Focus episode, we take a closer look at the oeuvre of Frits Van den Berghe. Based on the Coming Home. Flemish Art 1880-1930 publication, art historian Peter J.H. Pauwels highlights the artist’s strikingly personal and, at the same time, challenging style.

Frits Van den Berghe, Little Girl in the Garden, 1909. impressionist painting of a young girl in a red dress standing on a garden path among grass and trees, rendered with soft brushstrokes and a dreamlike atmosphere.
Frits Van den Berghe, Little girl in the garden, 1909
Frits Van den Berghe, The Awakening Dream, 1926. Expressionist painting featuring distorted figures in an unsettling, dreamlike scene, with a seated man surrounded by nude and masked characters, rendered in warm, earthy tones and angular forms.
Frits Van den Berghe, The awakening dream, 1926
Frits Van den Berghe, The Sun Painter, 1921. Expressionist painting with strongly simplified, monumental figures in motion, composed of dark planes and warm earthy tones, where light and shadow create a dramatic sense of tension.
Frits Van den Berghe, The Sun Painter, 1921

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Things are not always what they seem, as shown in Kitchen Still Life with Christ in the House of Martha and Mary. Without the title to guide us, the scene might easily be mistaken for an ordinary still life. Only on closer inspection does the painting begin to reveal an entire world, as explored in this episode of Phoebus Focus with art historian Prisca Valkeneers and Koen Fillet.

Frans Ykens, Kitchen Still Life with Christ in the House of Martha and Mary, ca. 1645. Dark Baroque still life showing a richly stocked kitchen with vegetables, fruit, and game, including a hanging carcass, while in the background Christ with Martha and Mary appears, subtly woven into the scene.
Frans Ykens, Kitchen Still Life with Christ in the House of Mary and Martha, c.1645

Want to know more? Order the accompanying Phoebus Focus publication.

With Koen Fillet and Dirk Imhof, former curator of books and archives at the Plantin-Moretus Museum in Antwerp.

In this Phoebus Focus episode, Dr Dirk Imhof outlines the context and significance of Christophe Plantin’s Biblia Regia on vellum, one of the most impressive book printing projects of the Renaissance.


Row of matching red leather-bound volumes with gilt titles on the spines, labeled Biblia Regia, arranged as a multi-volume set (Vols. I–VII) neatly aligned on a shelf.
Double-page spread from the Biblia Regia showing parallel columns in Syriac, Latin, Greek, and Chaldean, printed in distinct typefaces with decorative initials and marginal notes.
A Page of Syriac, Latin, Greek and Aramaic from the New Testament. In: Biblia Regia on Vellum, Antwerp (Christophe Plantin), 1568-1572
Detail of the top edge of the Biblia Regia on parchment, showing the title inked onto the rippled paper layers of an eighteenth-century leather binding.
Biblia Regia on Vellum, Bound in an Eighteenth-Century Leather Binding, Antwerp (Christphe Plantin), 1568-1572
Title page of the New Testament from the Biblia Regia on parchment, featuring Greek, Syriac, and Latin text, printed by Christoffel Plantin in Antwerp, 1568–1572.
Title Page of the New Testament. In: Biblia Regia on Vellum, Antwerp (Christophe Plantin), 1568-1572
Title page of the Pentateuch from the Biblia Regia (Polyglot Bible), featuring Hebrew and Latin text within an elaborate architectural frame, printed by Christoffel Plantin in Antwerp, 1568–1572.
Title Page of the Pentateuch, In: Biblia Regia on Vellum, Antwerp (Christophe Plantin), 1568-1572

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With Koen Fillet and Marjan Debaene, sculpture specialist and Head of Collections at M Leuven.

In this Phoebus Focus episode, sculptor Jan Borman II gets the recognition he deserves thanks to sculpture specialist and Head of Collections at M Leuven Marjan Debaene. The artist and his exquisite Madonna and Child are framed within an extensive artistic network. Contemporaries rightly praised Borman as the best sculptor.

Sculpture of the Virgin Mary with the Christ Child, shown standing in profile as Mary gently holds the infant in her arms; finely carved limestone with a serene expression, by Jan II Borman, ca. 1480.
Jan Borman II, Madonna with Child, c.1480
Detail of a limestone sculpture of the Virgin Mary with the Christ Child: Mary shown frontally with a calm, gentle expression, her hand raised while the infant rests against her chest; sculpture by Jan II Borman, ca. 1480.
Jan Borman II, Madonna with Child, c.1480
Detail of the drapery of the Virgin Mary in a limestone sculpture: richly folded garment with deep carving, soft transitions, and crisp creases; sculpture by Jan II Borman, ca. 1480.
Jan Borman II, Madonna with Child, c.1480

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With Koen Fillet and Sven Van Dorst, head of conservation at The Phoebus Foundation studio

Daffodils, pink roses, an orange lily, tulips, bright blue irises … The variety of flowers and the bright colours is overwhelming and almost splashes off this little panel. This composition is a masterpiece by Jan Brueghel I (1568-1625), one of the most important painters of the late 16th and early 17th centuries. In this episode of Phoebus Focus, you discover the inspirations, motivations, and working methods behind Brueghel’s devotion to floral splendour.

Flowers in a Vase with a Clump of Cyclamen and Precious; painting by Jan I Brueghel, ca. 1605–1607.
Jan Brueghel I, Flowers in a Vase with a Clump of Cyclamen and Precious Stones, 1605-1607

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With Koen Fillet and Timothy De Paepe, director of Museum Vleeshuis.

In this Phoebus Focus episode, we dive behind the mysterious portrait of the musician Henricus Liberti by Anthony Van Dyck. Director of Museum Vleeshuis, Timothy De Paepe, outlines a brief history of the man who, as organist of the Antwerp Cathedral during the early 17th century, defined the sound of the city. But, more than that, an analysis of Van Dyck’s portrait of Liberti reveals striking details about the unique portrayal of this fascinating figure.

Portrait of Henricus Liberti, shown half-length, leaning against a column, with loose curls, dark attire, and a white shirt; a cloth rests in his hand as he gazes slightly aside. Painted by Anthony van Dyck, ca. 1627–1632.
Anthony Van Dyck, Portrait of Henricus Liberti, c. 1627-1632

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With Koen Fillet and Leen Kelchtermans, researcher of The Phoebus Foundation

Who is this young lady, and by whom was she so accurately portrayed? In this episode, researcher of The Phoebus Foundation, Leen Kelchtermans, unravels the mystery behind this seventeenth-century portrait. This Phoebus Focus episode offers a fascinating insight into the young lady’s bygone reality: how she dressed, what norms and values she lived by, and what it meant to be married in 1613.

Portrait of a young woman, seated, wearing a finely pleated lace ruff, a dark dress, and an elaborately embroidered bodice; her hands rest loosely as she faces the viewer with a calm expression. By an anonymous Antwerp master, 1613.
Anonymous Antwerp Master, Portrait of a Young Woman, 1613

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With Koen Fillet and art historian Inge Misschaert

At first glance, this artwork seems to depict a winter scene with happy children playing in the snow, but upon closer inspection, we discover that nothing is what it looks like. In this episode of Phoebus Focus, Koen Fillet talks with art historian Inge Misschaert about Ghent etcher Jules De Bruycker and his work ‘Patershol in Ghent’. From festive fun to injustice and despair, discover everything about ‘Patershol in Ghent’ in this brand-new Phoebus Focus episode!


Winter city street with tall pale walls and snow-covered roofs; children gather and play in the snow while a man moves forward on crutches. Watercolour by Jules De Bruycker, ca. 1915.
Jules De Bruycker, Patershol in Ghent, c.1915

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In this episode of ‘Phoebus Focus’, you will discover everything about the garden of Eden, political propaganda, Archdukes Albrecht and Isabella, and the gardens of the Coudenberg Palace. But what do they all have to do with each other? Dr Katharina Van Cauteren, chief of staff of The Phoebus Foundation, and Koen Fillet take you to the imaginative 17th-century depiction of paradise by Hendrick De Clerck and Denijs Van Alsloot. The painting reveals an abundance of religious, artistic, and political information.

Allegorical depiction of the earthly paradise with the four elements: nude figures in a lush landscape filled with animals, birds, fruits, and flowers; personifications of water and earth in the foreground, with floating figures and putti in the sky above. Painting by Hendrick de Clerck and Denijs van Alsloot, 1613.
Hendrick De Clerck and Denijs Van Alsloot, The Garden of Eden with the Four Elements, 1613

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With Koen Fillet and Leen Kelchtermans, Researcher of The Phoebus Foundation

In this episode of Phoebus Focus, you will learn everything about religious women and their devotion, but also about Catholic and dynastic power plays. Phoebus researcher Leen Kelchtermans and Koen Fillet take you from the seventh to the seventeenth century and explore how Begga, daughter of Itta of Nivelles (c. 592-652) and Pepin the Elder (c. 580-639), was designated as the foundress of the flourishing beguine movement in 1630. Then, around 1635, Flemish baroque topper Jacob Jordaens (1593-1678) painted Holy Begga, resulting in a painting brimming with fascinating stories!


Saint Begga depicted as a Benedictine nun in a black habit and white veil, one hand on her chest and the other raised in blessing. Above her, a putto presents a crown; to the right a crucifix and an open book, with a cityscape in the background. Painting by Jacob Jordaens, ca. 1635.
Jacob Jordaens, Saint Begga, c.1635

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With Koen Fillet and Timothy de Paepe, director of Museum Vleeshuis.

In this episode, Timothy De Paepe peels the layers of a late sixteenth-century scene, as if it were an onion. If you look superficially, you see what the title of the work promises: elegantly dressed figures celebrating in a garden. But as the author lets you look with the eyes of a sixteenth-century man, he takes you into a world of entertainment and dance, but also of foolishness, envy and lust.

https://open.spotify.com/episode/6yg4SqovhpEACF1gvEfhWF?si=e4xbHMGTQYGcVrI4OH6NWA
Elegant company gathered in a walled garden with a grand palace in the background. Figures dance and make music on the lawn while others watch beneath trees and garden pavilions. In the foreground, a variety of birds and animals are depicted in meticulous detail. Painting from the circle of Joris Hoefnagel, ca. 1570–1590.
Joris Hoefnagel, Elegant Company in a Garden, c.1570-1590

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With Koen Fillet and Leen Kelchtermans, Researcher of The Phoebus Foundation

War, insecurity, refugees, and economic crisis are just a few suspiciously familiar-sounding keywords that marked the 17th century. Peter Snayers specialised in painting war scenes. Besides large canvases that glorified commanders, he also depicted the ordinary man or woman ravaged by the daily reality of war. A raid on travellers does not usually make it into the history books. However, it is at the center of Attack on Travellers, a work by Snayers which is discussed in this episode of Phoebus Focus. Together with Koen Fillet, Phoebus researcher Leen Kelchtermans revives a forgotten master and a forgotten piece of history.

A group of travellers resting along a country road with horses, a covered wagon, and luggage. Some figures converse while others lie exhausted on the ground. The scene unfolds in an open landscape with trees and a river in the distance. Painting by Peter Snayers, ca. 1640–1650.
Peter Snayers, Attack on Travellers, c.1640-1650

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With Koen Fillet and Naomi Meulemans, conservator modern and contemporary art from The Phoebus Foundation

Conservator Naomi Meulemans looks over the shoulder of CoBrA artist Karel Appel with the work Bird (1954). Like no other, she is able to unlock secrets from the materiality of the paint. The author dissects Appel’s painting layer by layer. The outcome is somewhat sobering. Were the CoBrA artists really as ‘free’ as they wanted to believe? Listen now (in Dutch)!


Abstract depiction of a bird composed of rough, expressive brushstrokes in red, blue, yellow, and white against a black background. The form is schematic and dynamic, emphasizing movement and energy. Painting by Karel Appel, Bird, 1954.
Karel Appel, Bird, 1954

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With Koen Fillet and Leen Kelchtermans, Researcher of The Phoebus Foundation

The portrait of Elisabeth Jordaens may seem charming at first sight, but it also raises many questions. Who was Elisabeth Jordaens? When did her father, the famous Jacob Jordaens, paint her portrait and why does she look like a peasant girl?

In this episode, Jordaens expert Leen Kelchtermans takes you through the story behind the painting and together with her you will discover the surprising answers to these questions. Listen now (in Dutch)!

Portrait of a young woman with reddish curly hair, shown frontally and leaning on a woven basket. She wears a red velvet hat with feather and flowers, a pearl necklace, and a red and white dress. Background with blue sky and foliage. Painting by Jacob Jordaens, Portrait of Elisabeth Jordaens, ca. 1637–1645.
Jacob Jordaens, Portrait of Elisabeth Jordaens, c.1637-1645

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With Koen Fillet, Sven Van Dorst (Chief Conservator) and Niels Schalley (Project Coordinator) of The Phoebus Foundation

The life of Saint Dymphna reads like a fairy tale! The life story of this remarkable saint appeals so much to the imagination that Goossen Van der Weyden (1465-1538), grandson of the famous Rogier, painted an altarpiece, consisting of eight panels, with an episode from the life of Dymphna on each panel. But it is not only the iconography of the masterpiece that is surprising. For more than three years, the panels were subjected to an extensive conservation treatment by the conservators of The Phoebus Foundation. They discovered even more extraordinary stories, which had been hidden for centuries under layers of dust and dirt. 

In the fourth episode of Phoebus Focus, Sven Van Dorst and Niels Schalley take you along their discoveries of the secrets of Dymphna and Goossen Van der Weyden.

(in Dutch)


Digital reconstruction of a multi-panel altarpiece with eight painted scenes depicting episodes from the life and martyrdom of Saint Dymphna. The scenes show figures in late medieval dress, set in landscapes and urban settings. Oil on panel, Altarpiece of the Life of Saint Dymphna, 1505.
Digital construction of Altarpiece with the Life of Saint Dymphna (1505)
Scene from the life of Saint Dymphna: a cleric blesses or crowns a kneeling young woman in a pink gown, with onlookers in a walled city with towers in the background. Panel painting, early 16th century, part of the Altarpiece of the Life of Saint Dymphna.
Goossen Van der Weyden, Baptism of Dymphna, with the Death of Dymphna’s Mother Represented in the Background, ca 1505
Scene from the life of Saint Dymphna: King Damian, richly dressed and accompanied by courtiers, asks Dymphna to marry him. She stands in a pink gown and rejects his proposal. A castle and river landscape appear in the background. Panel painting by Goossen van der Weyden, ca. 1505.
Goossen Van der Weyden, Dymphna’s Father Proposes to her, ca 1505
Goossen van der Weyden, Dymphna and her companions about to embark, ca. 1505. Saint Dymphna, dressed in pink, stands on a riverbank with her companions. In the background, a town with boats and towers appears, while a vessel awaits their departure.
Goossen Van der Weyden, Dymphna and her Companions about to Embark, ca 1505
Goossen van der Weyden, The innkeeper of an inn in Westerlo recognises the spies’ coins, ca. 1505.
An innkeeper wearing a pink dress and white apron stands at a round table, carefully examining coins handed to her. Two men face her, one holding a spear. Behind them is an inn with an inscription and a green landscape with trees and figures.
Goossen Van der Weyden, The Landlady at the Inn of Westerlo Recognises the Foreign Coins of the Spies, ca 1505
Goossen van der Weyden, The spies inform the king of Dimpna’s hiding place, ca. 1505.
A bearded king dressed in a richly decorated robe stands near a city gate, listening closely to a man who removes his red cap as he delivers his message. Courtiers in colourful dress gather behind them. In the distance, a hilly landscape appears with horsemen and a fortified town.
Goossen Van der Weyden, The King’s Spies Bring Him News of Dymphna’s Hideout, ca 1505
Goossen van der Weyden, The sarcophagi containing the bodies of Dimpna and Gerebernus are discovered, ca. 1505.
A group of men kneel in prayer around an open grave containing two sarcophagi, their focus fixed on the discovery. Angels hover above with folded hands. In the background, a gently rolling landscape unfolds with a church and village buildings, creating an atmosphere of quiet reverence and awe.
Goossen Van der Weyden, Discovery of the Sarcophagi Containing the Bodies of Dymphna and Gerebernus, ca 1505
Goossen van der Weyden, The translation of the body of Dimpna to Geel, ca. 1505.
A solemn procession moves past a church. Clergy and laypeople accompany the body of Saint Dimpna, carried on a cart. Banners bearing sacred images lead the way as onlookers observe the event. The scene highlights the ceremonial nature of the procession and the shared reverence for the saint.
Goossen Van der Weyden, The Body of St. Dymphna Returned to Geel, ca 1505

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With Koen Fillet and Hildegard Van de Velde, curator of the Snijders&Rockox House Museum.

Never heard of Maerten De Vos (1532-1603)? In sixteenth-century Antwerp he may have been a superstar, but today his fame is far less than that of, for example, Peter Paul Rubens. In this episode, Hildegard Van de Velde, curator of the Snijders&Rockox House Museum, introduces you to this talented superstar and guides you through his masterpiece The Allegory of the Seven Liberal Arts.

Maerten de Vos The Allegory of the Seven Liberal Arts showing female personifications of music geometry astronomy and rhetoric gathered around a central figure in a richly detailed Renaissance setting
Maerten De Vos, The Allegory of the Seven Liberal Arts, c.1560-90

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With Koen Fillet, Katrijn Van Bragt (Collection Consultant) and Sven Van Dorst (Chief Conservator) of The Phoebus Foundation

The Study of a Young Woman (c.1649-1659) by the Brussels artist Michaelina Wautier appears at first sight to be an ordinary study. Nothing could be further from the truth! A look into the details and behind the layers of paint reveals great secrets of this forgotten important artist. Not only her striking life itself but also the intriguing work raises many questions. Who is the woman depicted? How was the work created and what was its function? Thanks to recent technical research, it is possible to see the painter at work.

In this second episode of Phoebus Focus, Katrijn Van Bragt and Sven Van Dorst take you behind the paint layers of Study of a Young Woman and discover the secrets of one of the most extraordinary artists.

Michaelina Wautier, Study of a young woman, ca. 1649–1659.
A young woman is shown in half profile, her gaze turned attentively to the side. Her loose hair and simple clothing lend the image an intimate, almost informal quality. Soft light and warm flesh tones highlight Wautier’s keen powers of observation and her sensitivity to human presence.
Michaelina Wautier, Study of a Young Woman, c.1649-59
Michaelina Wautier, Study of a young woman, ca. 1649–1659.
MA-XRF scan (mercury, Hg), rotated 180°. The scan visualises the distribution of mercury-based pigments, revealing underlying brushwork and compositional decisions invisible to the naked eye.
‘Study of a Young Woman’ 180° turned, MA-XRF-scanning for mercury (Hg)

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With Koen Fillet and Sven Van Dorst, head of conservation at The Phoebus Foundation studio

In the seventeenth century, the Jesuit Daniel Seghers must have been something of a pop star. He worked with Peter Paul Rubens, Cornelis Schut, Gonzales Coques and Erasmus II Quellinus. The highest-ranking nobles queued up for his flower still lifes. Studying his work opens up a whole new world. Years of extensive and remarkable technological-material research sheds light on the past and present. It allows us to literally look through the layers of paint, over the artist’s shoulder.

In this first episode of Phoebus Focus, Sven Van Dorst takes you into the wonderful flower world of Daniël Seghers.

Daniël Seghers, Vase of flowers with roses, daffodils and tulips, ca. 1630–1640.
A carefully arranged bouquet in a glass vase, bringing together tulips, roses and daffodils in full bloom. Set against a dark background, the flowers stand out with striking clarity, combining botanical accuracy with quiet elegance.
Daniël Seghers, Vase with Roses, Daffodils and Tulips, c.1630-40

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