With the exception of Justus Sustermans (1597-1681), who was Van Dyck’s
fellow-student under H. van Balen and afterwards rose to great fame
as Court painter to Grand-Duke Cosimo II. of Tuscany (whose kinsman
_Leopold de’ Medici_ is portrayed in No. 2154), and Pieter Neefs
(1577?-1661?), whose _Church Interiors_ (Nos. 2059-2064) are remarkable
for the faultless accuracy and precision of his architectural drawing,
there are no other painters of the Flemish school whose works at the
Louvre require close attention. We must content ourselves with the
mere mention of the landscape painters Jan Frans van Bloemen, called
Orizonte, a follower of Poussin and Claude; Jan van Breda, Francisque
Millet, and Mathys Schoevaerts; Carl van Falens and Anton Grief,
painters of hunting scenes; Jan Miel, who worked most of his life in
Italy and was completely influenced by the masters of that country;
the still-life painter Gaspard Pieter Verbruggen; the battle painter
Sebastiaen Francken; and the prolific painter of large altarpieces,
Jacob van Oost the Elder. With Balthasar Paul Ommeganck (1755-1826)
and the still-life painter Jan Frans van Dael (1764-1840) we reach the
beginning of the nineteenth century, a period of absolute stagnation in
Flemish art which preceded the brilliant revival of the modern Belgian
school.