Editing Gillis van Coninxloo (section)

==Work==
[[Image:Gillis van Coninxloo - Forest Landscape.jpg|thumb|390px|''Forest Landscape'', 1598, Liechtenstein Collection]]
Coninxloo ranks as one of the most important Flemish landscape painters of around the turn of the 17th century.  He exercised a strong influence on [[Jan Brueghel the Elder]], [[Pieter Schoubroeck]], [[Roelandt Savery]], and other Flemish and Dutch landscape painters of this period.

His early landscapes were often [[Northern Mannerist]] versions of the established [[world landscape]] type, though with close views of trees already narrowing the panoramic view.  Beginning in the 1590s Coninxloo introduced a new approach into Flemish landscape painting, with close-up views of forests reminiscent of [[Albrecht Altdorfer]] and the [[Danube school]] nearly a century earlier and almost or entirely shutting out a distant view.  While earlier forest landscapes had used forests as the backdrop for human activity, van Coninxloo turned them into the subject proper by submerging tiny human figures in elaborate compositions of trees on a hugely exaggerated scale.  A ''Forest Landscape'' of 1598 in the [[Liechtenstein Collection]] is the first work to take this approach to its extreme: the sky is only visible in a few patches between branches and a single tiny human figure reclines under a tree.<ref name="Vlieghe, 175-176">Vlieghe, 175-176</ref> This painting achieves great intensity and atmospheric quality through its fine shades of brown and green and its accentuated handling of light.<ref>[http://www.liechtensteincollections.at/en/pages/artbase_main.asp?module=browse&action=m_work&lang=en&sid=87294&oid=W-1472004121953420245 Gillis van Coninxloo, ''Forest Landscape''], 1598, at the Liechtenstein Collection</ref>

During his stay in Frankenthal from 1588 to 1595, he influenced several better known Flemish émigré landscape painters, who are now collectively referred to as the 'Frankenthal School'.  The early 17th century art historian [[Karel van Mander]] wrote about Coninxloo in his ''[[Schilder-boeck]]''.  Van Mander stated that Coninxloo's teacher Pieter Coeke van Aelst was his cousin, and that ''I know at this time of no better landscape painter, and I notice that they are following his manner very much in Holland''.<ref name="Vlieghe, 175-176"/>

The influence of his work spread in Holland by means of his designs for large-scale prints, mainly engraved by Flemish émigré printmakers [[Nicolaes de Bruyn]] and [[Jan van Londerseel]] who published in the Dutch Republic.<ref>Larry Silver, ''Peasant Scenes and Landscapes: The Rise of Pictorial Genres in the Antwerp Art Market'', University of Pennsylvania Press, 2012, pp. 164–165</ref>