Queen Christina of Sweden, and Amalia van Solms,
widow of the Dutch stadtholder, for whom he executed
The Triumph of Frederik Hendrik of 1652, to be hung in
Huis ten Bosch outside the Hague. In addition to reli-
gious and historical scenes, Jordaens produced portraits
and exuberant genre scenes, such as As the Old Sing, So
the Young Twitter of 1638 (Koninklijk Museum voor
Schone Kunsten), and became the leading painter in Ant-
werp after Rubens's death.FILIPPO JUVARRA
Messina 1678-Madrid 1736
Juvarra was the son of a silversmith. He received his ear-
liest artistic training as an architect in the studio of Carlo
Fontana in Rome, where Juvarra lived from circa 1703 to
1714. In that city he worked for Cardinal Ottoboni and
became known for his designs for sets for theatrical per-
formances and ceremonial occasions. Juvarra had a gifted
imagination and immense talent as a draughtsman.
Drawings by him exist not only for his stage designs and
architectural projects but also for numerous varied en-
terprises, including funeral decorations, coats of arms,
and book illustrations. In 1714 Juvarra was named first
architect to the king and moved to Turin. There he re-
ceived many important architectural commissions, in-
cluding projects for the Palazzo Madama (1718-21), the
royal hunting lodge at Stupinigi (1729-33), and the
church and monastery of the Superga, east of Turin (be-
gun 1717). Juvarra enjoyed an international reputation as
an architect and traveled throughout Europe.
WOLFGANG KATZHEIMER THE
ELDER
Katzheim bei Burglengenfeld-Bamberg, active
1478-1508
A painter, workshop head, and designer of stained-glass
windows and woodcuts, Katzheimer is the only late
fifteenth-century Bamberg painter with whom docu-
mented works cannot be connected. The starting point
for an analysis of his art are the woodcuts for an illus-
trated book, Halsgerichtsordnung (1507), the designs for
which he delivered, according to a record of payment of
1506/7 in the accounts of the Bamberg archbishopric.
Stylistic comparison with these woodcuts supports the
attribution of a number of paintings to him and his
workshop. The most important of these are Passion
scenes, including The Crowning with Thorns (Bayer-
isches Nationalmuseum) and The Hersbruck Altarpiece
(Hersbruck Pfarrkirche). Displaying the influence of
Martin Schongauer and Hans Pleydenwurff, he painted
figures of highly charged, almost caricatured emotion-alism, often supplementing the main scene with ancillary
views filled with genrelike detail. His shop was contin-
ued by his son, Wolfgang Katzheimer the Younger.HANS VON KULMBACH
Kulmbach(?) circa 1480-Nuremberg 1522
Kulmbach probably studied with the Venetian artist Ja-
copo de' Barbari at some point between 1500 and 1505
and subsequently entered the atelier of Durer in Nurem-
berg, becoming a citizen of that city in 1511. He was the
most important painter to emerge from the Durer shop.
His surviving oeuvre, in which there are dated examples
from between 1508 and 1520, includes many altarpieces,
some with sculpture for which he was also probably re-
sponsible. Among his major paintings is The Adoration
of the Magi Altarpiece of 1511 (panels in Berlin-Dahlem,
Gemáldegalerie; Cracow, Monastery of Saint Paul; Cra-
cow, Muzeum Narodowe), one of several commissions
issuing from Cracow, which Kulmbach may have visited
circa 15 lo/i i. His masterpiece is the Tucherepitaph of 1513
(Nuremberg, Pfarrkirche Sankt Sebald), the central
panel of which shows the Madonna and child with saints.
He appears to have returned to Cracow to execute the
Saint Catherine Altarpiece of 1515 (Cracow, Church of
Our Lady) and the Saint John Altarpiece of 1516 (Cracow,
Church of Saint Florian; destroyed in World War II ex-
cept for the predella [Muzeum Narodowe]). Among
Kulmbach's many masterful portraits is Casimir von Bran-
denburg of 1511 (Alte Pinakothek). Kulmbach was also a
major designer of stained glass, as is evidenced by the
various windows by him in the Pfarrkirche Sankt Sebald,
Nuremberg.HIERONYMUS LANG
Active 1541-1582
Little is known of Lang's life and training before he be-
came a citizen of Schaffhausen and a member of the guild
in 1541. Lang was the first glass painter in that city to sign
his works. He not only produced windows but also drew
his own designs. One of the most sizable groups of his
drawings for stained glass is in the Museum zu Allerhei-
ligen, Schaffhausen. The father of a dynasty of glass
painters which included his son Daniel and grandson
Hans Caspar, Lang also instructed Tobias Stimmer and
Daniel Lindtmayer. His influence as a glass painter was
felt throughout Switzerland.JEROME-MARTIN LANGLOIS
Paris 1779-1838
Langlois, a successful painter of portraits and historical
subjects, was the son of a miniature painter of the same336 ARTISTS' BIOGRAPHIES