Painted for the Arquebusiers' guild, the Descent from the Cross triptych (1611–14; Cathedral of Our Lady, Antwerp)—with side wings depicting the Visitation and Presentation in the Temple, and exterior panels showing St. Christopher and the Hermit—is an important reflection of Counter-Reformation ideas about art combined with Baroque naturalism, dynamism and monumentality.
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Later in the century, David Teniers the Younger, working in the capacity of court painter to Archduke Leopold Wilhelm of Austria, documented the archduke's collection of Italian paintings in Brussels as gallery painters as well as in a printed catalogue–the Theatrum Pictorium.
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Rubens owned more works by him at the time of his death than any other painter, and artists such as David Teniers the Younger, Jan van de Venne, Joos van Craesbeeck and David Ryckaert III continued to work in a similar manner.
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The genre continued in the later seventeenth-century by Anton Ghering and Willem Schubart von Ehrenberg, but the Flemish examples do not demonstrate the same level of innovation found in the Dutch perspectives of Pieter Jansz Saenredam or Emanuel de Witte.
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Still life painting in Baroque Spain was often austere; it differed from the Flemish Baroque still lifes, which often contain both rich banquets surrounded by ornate and luxurious items with fabric or glass.