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With discussions of nearly fifty works, representing practically all of his painted oeuvre, explores both the the artist's superlative depictions of daily life and the tumultuous context in which they were produced. Cleland, eds., with contributions by Koenraad Brosens, Isabelle Denis, Jean Vittet, Pascal-François Bertrand, Hanns Hubach, Ebeltje Hartkamp-Jonxis, Nello Forti Grazzini, Ingrid De Meûter, James G.
It was in this artistically rich but violent metropolis that Valentin created such masterworks as a major altarpiece in Saint Peter's Basilica and superb renderings of biblical and secular subjects—until his tragic death at the age of forty-one cut short his ascendant career. This means there's a looseness to the instrumentation, with the collections of continuo instruments (harp, guitar, lute, theorbo, virginal, bass violin) freely accompanying what are probably interchangeable treble parts played by the violin, cornetto, or singers.The combinations represented are fairly progressive—fewer voices and richer continuo groupings—and look toward the last stages of the madrigal's evolution as it transformed into the cantata by the mid-17th century.Valentin may have painted from life, but that doesn't mean the tableaux he staged reflect reality.I don't know the kind of taverns the artist and his northern colleagues frequented ( for the purpose of researching bawdy subject matter, no doubt!