to Utrecht; he remained there until his death, save for a
stay in Amsterdam in 1591-93. At this time he came un-
der the influence of the Haarlem Mannerists, in partic-
ular Hendrick Goltzius, and, through him, the work of
Bartholomeus Spranger. Bloemaert's later works, such
as the Adoration of the Magi of 1624 (Centraal Museum
Utrecht), show the influence of the caravaggist painter
of Utrecht as well as Rubens. Bloemaert painted pri-
marily religious and mythological scenes, often with
landscape backgrounds. His influence as a draughtsman
continued due to his Artis Apelles liber... (circa 1650),
a collection of engravings after his drawings published
by his son Frederick.
CHRISTOPH BOCKSTORFFER
Active Constance I5i3-Mulhausen 1553
Probably originally from Memmingen, Christoph was
the son of a painter, Thomas Bockstorffer. His name
appears in the Constance records with some regularity
between 1513 and 1543. A document of 1518 refers to a
competition between him and Matthàus Gutrecht the
Younger for the commission to paint the organ of the
Constance Münster, which Gutrecht won. In 1522 Bock-
storffer is recorded as having completed what was per-
haps his major work, an elaborate high altarpiece for the
Münster of Saint Gall, which has not survived. His sole
surviving signed and dated painting is the Death of the
Virgin of 1523 (Lucerne, private collection). The most
important painting attributed to him is the altarpiece of
Hugo von Hohenlandenberg in the Constance Münster,
dated 1524. In addition to painting, BockstorfTer pro-
duced stained-glass designs for the Constance glass
painter Caspar Stillhart. It has been proposed that he was
identical with the printmaker who signed his work C. B.
with a pine cone, the emblem of the city of Augsburg,
and whose figurai style is closely related to that of the
Hopfer shop of Augsburg. BockstorfFer moved to Col-
mar in 1543 and, later, to Mülhausen, where he is re-
corded as having executed painted decorations for the
city hall in 1552, the year before his death.
FERDINAND BOL
Dordrecht i6i6-Amsterdam 1680
The son of a prosperous surgeon, Bol might have re-
ceived his earliest training from Jacob Gerritsz. Cuyp in
Dordrecht. This theory is supported by Vertumnus of
circa 1635 (London, DaanCevat collection), probably his
earliest surviving painting. Apparently during the later
16305, Bol went to Amsterdam, where he entered Rem-
brandt's studio for further training, remaining there until
the early 16405. From 1642 to 1669 there are numerous
surviving dated paintings by him. His first major com-
mission, Governors of the Amsterdam Leper Asylum of 1649
(Amsterdam Historisch Museum), exhibits the linger-
ing influence of Rembrandt. Among the most important
works of the following decade is Pyrrhus and Fabricius of
1656, painted for the new Amsterdam town hall and still
in situ, which exhibits the characteristic classicism of
Bol's later style. He was active as a portraitist and also
received a large number of official commissions, espe-
cially during the i66os. In 1669 he married his second
wife, the wealthy Ann van Erckel, after which he vir-
tually ceased to paint. His drawing style, as is especially
evident in his many surviving studies of religious scenes,
is heavily dependent upon that of Rembrandt.SEBASTIEN BOURDON
Montpellier i6i6-Paris 1671
Bourdon studied with the painter Jean Barthélémy in
Paris from 1623 to 1630. He traveled to Italy in 1634 , stay-
ing first in Rome, then in Venice. In Italy he gained a rep-
utation for his bambocdate paintings. He returned to Paris
in 1637. The influence of Poussin is apparent in Bour-
don's works after 1640, following the former's stay in
Paris. In 1643 Bourdon painted the Martyrdom of Saint Pe-
ter for the church of Notre-Dame. He was one of the
founding members of the Académie in 1648. From 1652
to 1654 Bourdon was in Sweden as court painter to
Queen Christina. On the death of Eustache Le Sueur in
1655, ne took over the design of a large tapestry cartoon
intended for the church of Saint-Gervais, Paris. Bourdon
lived in his native city of Montpellier for several years
beginning in the late 16505 before returning to Paris for
the remainder of his life. During the last phase of his ca-
reer he focused on landscape painting and the decoration
of the Hôtel de Bretonvilliers, Paris (destroyed).JÓRG BREU THE ELDER
Augsburg circa 1475/76-153 7
During his years as a journeyman in Austria from 1498
to 1502, Breu produced major altarpieces at Zwettl
(1500), Aggsbach (1501; Herzogenburg, Augustiner-
chorherrenstift; Germanisches Nationalmuseum), and
Melk (1502). These are among the earliest works asso-
ciated with the Danube School, which is characterized by
dynamic, nature-centered imagery. In 1502 Breu settled
in Augsburg. Under the influence of Hans Burgkmair
and the Durer school, his figurai style became more
sculptural; Italianate ornament and chiaroscuro effects be-
came increasingly apparent in his art after trips to Italy
circa 1508 and circa 1514. Among the principal commis-
sions of his later years are the border decorations in the328 ARTISTS' BIOGRAPHIES