Jacques de l’Ange or the Monogrammist JAD (Antwerp, active between 1621–1650) “The Crucifixion of Saint Peter” Oil on copper. Circa 1630 - 1650. 65 x 51 cm.   Charged with drama and set against a background of soft salmon hues that seem to temper the tension of the scene, the work depicts the crucifixion of Saint Peter, surrounded by dignitaries or judges, soldiers, and attendants, at the moment when the inverted cross used for his martyrdom is being raised. In a landscape setting near a gnarled, centuries-old tree, our gaze is drawn to the right, where a contorted young Roman soldier in crimson strains to pull the rope that lifts the cross, foreshadowing the Apostle’s martyrdom. To the left, spectators observe from the foreground, an elderly man and a restless child with his mother. Jacques de l’Ange, well acquainted with Rubens’s work through his direct participation in the master’s workshop, clearly reveals his influence here: the depiction of the white horse reminiscent of Rubens’s equestrian portraits (such as that of the Duke of Lerma); the dynamic, red-clad soldier on the right whose color enhances his volume; the rendering of anatomy and flesh tones; and even the sketch-like underdrawing. Equally evident is the influence of Caravaggio and his followers in the play of light, naturalism, and expressiveness of the figures, especially that of Saint Peter. Caravaggisti frequently painted this scene for its powerful composition, foreshortened bodies, striking chiaroscuro, and theatrical energy, all masterfully employed here. The author of this painting is among the most remarkable rediscoveries in the historiography of 17th-century Flemish art. For many years, his works were attributed to other painters, among them Honthorst, Sandrart, and even Rubens, until in 1994, art historian Bernhard Schnackenburg identified his monogram on a major work (The Holy Family, Noordbrabants Museum), restoring him to his rightful place among the great Caravaggisti. Trained in Antwerp, his oeuvre also reflects the portrait-like elegance of Van Dyck and the realism of Jordaens, which he integrates into his own pictorial language. His knowledge of Italian painting, acquired during a 1640 trip to Naples, is evident in the theatrical treatment of light, preference for nocturnal scenes, and the volumetric construction of figures. This copper painting is filled with warm, vibrant color dominated by golds, ochres, and touches of vivid red and rose, heightening the theatricality of the scene, while cooler tones of bluish gray and greenish hues provide depth. The figures are graceful and deeply human, with delicate features and almond-shaped eyes; the brushwork is loose and confident, combining virtuosity with emotional balance. The artist’s work is represented in major museums and continues to attract growing scholarly and collector interest, illustrating one of the most fascinating exchanges of style between Flanders and Italy in the 17th century.