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| Pieter de Jode II | |
|---|---|
| Name | Pieter de Jode II |
| Birth date | 1606 |
| Birth place | Antwerp |
| Death date | 1674 |
| Death place | Antwerp |
| Occupation | Engraver |
| Father | Pieter de Jode I |
| Movement | Flemish Baroque |
Pieter de Jode II was a Flemish printmaker and draughtsman active in Antwerp during the seventeenth century who continued a family workshop tradition established by his father during the Dutch Revolt period, producing reproductive prints after Peter Paul Rubens, Anthony van Dyck, and other leading artists associated with the Southern Netherlands. He worked within networks tied to the Guild of Saint Luke (Antwerp), the print trade of Amsterdam, and collectors in Paris and London, where his plates circulated alongside engravings after Cornelis de Vos, Jacob Jordaens, and Jan Brueghel the Elder.
Born in Antwerp as the son of Pieter de Jode I and grandson of Gerard de Jode of the printmaking dynasty, he received training rooted in the workshop system that connected masters, apprentices, and publishers in the Spanish Netherlands. His formative years linked him to the artistic milieus surrounding Peter Paul Rubens, Anthony van Dyck, Frans Snyders, Jan Wildens, and the Weyerman-era print culture, and he entered the Guild of Saint Luke (Antwerp) following the precedents established by his father and contemporaries such as Lucas Vorsterman and Willem de Passe. Apprenticeship and exposure placed him in contact with publishers in Antwerp, Amsterdam, Cologne, and Paris, where reproductive engraving flourished under the influence of the Republic of Letters and the demands of courtly collectors.
De Jode II's career spanned collaborations with major painters and print publishers, producing reproductive plates after compositions by Peter Paul Rubens, Anthony van Dyck, Jacob Jordaens, Cornelis de Vos, and Sebastian Vrancx. His plates were distributed through publishing houses connected to Philips Galle, Martinus van den Enden, Jean De Baen, and Georg Philipp Harsdorffer, contributing to series sold to collectors in Antwerp, Amsterdam, Paris, London, and Rome. He engraved devotional subjects, portraiture, mythological scenes, and allegories after cartoons and paintings by Rubens, Van Dyck, Poussin, and Luca Giordano, while also producing original designs for prints circulated in compilations alongside works by Hendrik Goltzius and Herman Saftleven.
Stylistically, de Jode II combined the line work and cross-hatching practices established by line-engravers such as Lucas Vorsterman and Hendrik Goltzius with the tonal modulation favored by reproductive engravers in Antwerp and Amsterdam. His technique employed burin engraving, careful use of stipple and mezzotint-like tonal effects, and compositional translation methods developed in print workshops that reproduced the painterly qualities of Rubens and Van Dyck. The prints reflect an emphasis on rhythmic hatching, chiaroscuro modeling, and economical rendering of drapery and flesh reminiscent of the approaches seen in plates by Wenceslaus Hollar and Pieter de Bailliu.
De Jode II worked under commission for leading publishers and courtly patrons connected to the Habsburg administration in the Spanish Netherlands, as well as for international dealers servicing the courts of France, England, and various Italian states. His collaborations included reproductive projects after Peter Paul Rubens and portrait commissions linked to the circles of Anthony van Dyck and aristocratic sitters documented in inventories associated with Cardinal-Infante Ferdinand, Archduke Leopold Wilhelm of Austria, and collectors such as Gian Lorenzo Bernini’s patrons. He also participated in engraved book-illustration projects for printers and publishers active in Antwerp and Amsterdam.
Among his principal outputs were reproductive plates after monumental history paintings and portrait series that entered compilations with plates by Rubens, Van Dyck, Jacob Jordaens, and Cornelis de Vos, forming part of emblem books, devotional print cycles, and portrait compilations marketed across Europe. Notable series contextually associated with his oeuvre include plates used in publications by Philips Galle and series that paralleled the catalogues of prints circulated by Theodoor Galle and Pieter van der Heyden, often reproducing works that originally hung in collections belonging to the Spanish Habsburgs and the Archducal collection.
De Jode II contributed to the transmission of Flemish Baroque imagery through engraved reproductions that shaped the reception of Rubens and Van Dyck across Europe, influencing collectors, painters, and printmakers in France, England, Italy, and the Dutch Republic. His plates formed part of the visual economy that informed the iconography of later printmakers and influenced the circulation of portrait types and devotional imagery used by artists such as Cornelis Galle the Younger and Jan van Ossenbeeck. Posthumously, his work appears in inventories and catalogues of prints compiled by collectors in Antwerp and Amsterdam, and his family's workshop continued to be cited in print trade records and auction lists throughout the late seventeenth century.
He belonged to the de Jode family of engravers, being the son of Pieter de Jode I and grandson of Gerard de Jode, a lineage linked to print publishers and cartographers active in Antwerp and Leuven. Family ties connected him to the network of printmakers and publishers that included Philips Galle, Theodoor Galle, Pieter van der Heyden, and contemporaries such as Lucas Vorsterman and Wenceslaus Hollar, and his descendants and relatives continued to engage in the print trade into the later seventeenth century.
Category:Flemish engravers Category:1606 births Category:1674 deaths