Joseph Heintz II. Joseph Heintz the Younger was a German painter, son of Joseph Heintz the Elder, active in Italy from the first quarter of the 17th century.
His works are exhibited in museums as important as the Galleria degli Uffizi in Florence, the Brera Pinacoteca in Milan, the Museum of Art History in Vienna or the Museo Correr in Venice. His father died prematurely in 1609.
In 1617, Heintz was working in the workshop of a former student of his father, the painter Matthaus Gundelach. Probably, before settling in Italy, he also frequented the workshop of Matthias Kager, a well-known miniaturist who had been a student in Venice of Hans Rottenhammer.
By 1625 Heintz the Younger was already active in Italy, both in Venice and Rome, where he painted some capricciosissimi, in which concerts of monsters were mixed with scenes of classical or mythological heroes. He was inspired for his compositions by works by Hieronymus Bosch, Pieter Brueghel the Elder or Jacques Callot, which he knew from prints.
Some characteristic works of this style are the Allegory in the Vienna Art History Museum, the Orpheus in Hell in the Galleria degli Uffizi or his Vanitas in the Brera Pinacoteca. In 1632 he was in Venice, as evidenced by the votive altar of the church of San Fantino. Between 1634 and 1639 he was enrolled in the painters' guild. From 1648 to 1649 he painted the works Entrance of the Patriarch Federico Co
His works are exhibited in museums as important as the Galleria degli Uffizi in Florence, the Brera Pinacoteca in Milan, the Museum of Art History in Vienna or the Museo Correr in Venice. His father died prematurely in 1609.
In 1617, Heintz was working in the workshop of a former student of his father, the painter Matthaus Gundelach. Probably, before settling in Italy, he also frequented the workshop of Matthias Kager, a well-known miniaturist who had been a student in Venice of Hans Rottenhammer.
By 1625 Heintz the Younger was already active in Italy, both in Venice and Rome, where he painted some capricciosissimi, in which concerts of monsters were mixed with scenes of classical or mythological heroes. He was inspired for his compositions by works by Hieronymus Bosch, Pieter Brueghel the Elder or Jacques Callot, which he knew from prints.
Some characteristic works of this style are the Allegory in the Vienna Art History Museum, the Orpheus in Hell in the Galleria degli Uffizi or his Vanitas in the Brera Pinacoteca. In 1632 he was in Venice, as evidenced by the votive altar of the church of San Fantino. Between 1634 and 1639 he was enrolled in the painters' guild. From 1648 to 1649 he painted the works Entrance of the Patriarch Federico Co
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