Last Judgement, ca. 1645

Van Diepenbeeck employs pronounced chiaroscuro, contrasting illuminated forms with a dark ground to model volume and heighten drama. The palette is restrained, dominated by whites, grays, and muted earth tones, while the subtle glazing enhances depth and a sense of translucency. The composition reflects the dynamic movement and emotional intensity characteristic of the Baroque period.

The painting originates from the workshop milieu of Antwerp, where the artist maintained professional connections with the studio of Peter Paul Rubens. Though primarily known for designs in glass, prints, and tapestries, Van Diepenbeeck produced this canvas as part of his religious output. It entered the Uffizi Gallery’s collection, where it remains on display.

Working in the mid‑17th century, Van Diepenbeeck contributed to the flourishing of Counter‑Reformation art in the Southern Netherlands. His involvement with Rubens’s circle placed him within a network that emphasized grand, didactic religious subjects intended for devotional settings. The *Last Judgement* reflects both the theological imperatives of the era and the stylistic preferences of Flemish Baroque painters.