NEW YORK, NY.- Hendrick van Balen the Elder (1575–1632) was a significant figure in the Antwerp art world during the late 16th and early 17th centuries. He was not only a highly respected painter in his own right but also an influential mentor to many artists of his time. Known for his refined and elegant style, especially in religious and allegorical works, Van Balen's influence extended through his role as a teacher, fostering a generation of painters who would go on to shape Flemish Baroque art.

Jan Brueghel the Younger (Antwerp 1601 - Antwerp 1678) and Hendrick van Balen the Elder (Antwerp 1575 - Antwerp 1632), The Madonna and Child in a Floral Garland, inscribed on the reverse 6598,9...D... oil on copper, 16 ½ x 12 ¾ inches (41 .8 x 32.4 cm.)

Van Balen the Elder’s early career began in the vibrant artistic environment of late 16th century Antwerp. Born in 1575, he trained under the renowned Flemish painter Adam van Noort, who was also the teacher of Peter Paul Rubens, one of the most famous Baroque painters. This early training provided Van Balen with a strong foundation in the Flemish artistic tradition and probably influenced his own path as a mentor.

Van Balen became a master in the Guild of Saint Luke, in 1592, when he was only 17 years old. This early achievement is a testament to his talent and the quality of his training. In his early works, Van Balen specialized in small cabinet pictures with mythological and religious themes, and his early style was also influenced by Mannerism.

By the early 1600s, Van Balen had established himself as a prominent artist in Antwerp, receiving commissions for altarpieces and other religious works. Around this time, he began collaborating with other leading artists of the period, including Jan Brueghel the Elder, marking the beginning of a successful partnership.

As a member of the Antwerp artistic community, Van Balen felt a responsibility to the community and started to actively mentor many young artists, while producing work to further his own career. He trained several notable artists in his studio, including the famous Anthony van Dyck. Through his teaching, Van Balen passed down techniques and stylistic elements characteristic of Flemish painting. These were also vital to his collaborations with Jan Brueghel the Elder.

Brueghel the Elder died in 1625, leaving an active and successful studio to his son Jan Brueghel the Younger. Van Balen the Elder’s mentorship of Jan Brueghel the Younger is particularly significant, as it helped Brueghel transition into managing the prestigious family workshop after his father died. Van Balen likely provided guidance not only in artistic technique but also in navigating the professional and social circles of Antwerp’s art community. He continued to collaborate with Jan Brueghel the Younger, offering the youth support and direction in the absence of his father.

Van Balen's reputation as a teacher and mentor, alongside his established career, cemented his role as a central figure in Antwerp and in art history. What would 16th and 17th century Flemish art be today without his guidance to all these young, talented artists? His own production alongside his collaborations, not only contributed to the style and techniques of the times, but also set an example for other artists. Giving back to the community, mentoring younger students, supporting the children of friends who needed him at important times were all generous offerings of time and care that not everyone was willing to give. Van Balen the Elder defined the term “paying it forward”. An important lesson we could all learn to improve our own community around us.

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