Paulus van Vianen made this plaquettes and the one with a scene from Pan and Syrinx (inv.nr. 14746) at the height of his career. In 1603 he started work for the Emperor Rudolf II in Prague. During the two previous years he had worked in Salzburg at the court of Archbishop Wolf Dietrich von Raitenau. In this period, landscapes became an important inspiration. The idealized figures in the mythological scenes on these plaquettes have also been placed in realistic landscapes. This piece from 1612 depicts shepherd Actaeon turning into a stag, after having spied on goddess Diana taking a bath. He is later ripped to shreds by his own hounds.
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Paulus van Vianen made this plaquettes and the one with a scene from Pan and Syrinx (inv.nr. 14746) at the height of his career. In 1603 he started work for the Emperor Rudolf II in Prague. During the two previous years he had worked in Salzburg at the court of Archbishop Wolf Dietrich von Raitenau. In this period, landscapes became an important inspiration. The idealized figures in the mythological scenes on these plaquettes have also been placed in realistic landscapes. This piece from 1612 depicts shepherd Actaeon turning into a stag, after having spied on goddess Diana taking a bath. He is later ripped to shreds by his own hounds.
Adam, Paulus en Christiaen van Vianen; leven en werk, A.L. den Blaauwen, (Leiden, 1957), pp. 24-25
Collection de feu M.- W.J.R. Dreesmann Amsterdam. Tableaux, dessins, eaux-fortes, antiquités, (Amsterdam, 1960-03-22/25), cat. nr. 103, p. 29
Das niederländische Ohrmuschel-Ornament : Phänomen und Entwickelung dargestelt an den Werken und Entwürfen der Goldschmiedefamilien van Vianen und Lutma : Inaugural-Dissertation zur Erlangung des Doktorsgrades der Philoshophischen Fakultät der Ludwig-Maximilians-Universität zu München, vorgelegt von Antje-Maria von Graevenitz, (Bamberg, 1973), p. 123 (noot 396), pp. 126-127 (noot 406)
