Who painted Die hll. Ursula und Cordula?

Die hll. Ursula und Cordula was painted by Peter Candid in 1620.

Where can I see Die hll. Ursula und Cordula?

Die hll. Ursula und Cordula is held by Bavarian State Painting Collections.

What movement is Die hll. Ursula und Cordula?

Die hll. Ursula und Cordula is associated with Flemish Baroque painting.

Artwork

Die hll. Ursula und Cordula

Peter Candid , 1620

Die hll. Ursula und Cordula is an unspecified painting by the Flemish Baroque painting artist Peter Candid. It dates from 1620 and is held in the collection of the Bavarian State Painting Collections.

About this work

Overview

Created in 1620 by Peter Candid, the oil painting titled *Die hll. Ursula und Cordula* presents a religious tableau characteristic of the Flemish Baroque. The work is part of the Alte Pinakothek’s collection in Munich and measures the interaction between holy figures and a populated setting, rendered with a pronounced play of light and shadow that gives the scene a three‑dimensional presence.

Subject & Meaning

Above them, a celestial figure on a cloud, surrounded by angels and cherubs, underscores the divine endorsement of their martyrdom.

The composition centers on two crowned women, each bearing a staff, identified as Saint Ursula and Saint Cordula. They stand before an assembled crowd, their contrasting robes—dark with a white shawl opposite a lighter garment with a dark shawl—emphasize their distinct roles. Above them, a celestial figure on a cloud, surrounded by angels and cherubs, underscores the divine endorsement of their martyrdom.

Technique & Style

Candid employs the dramatic chiaroscuro typical of the Baroque, using strong contrasts to model forms and suggest depth. The figures are rendered with elongated, elegant proportions reflecting his Mannerist training, while the detailed cityscape in the background, complete with a prominent building and a harbor ship, grounds the heavenly narrative in a recognizable urban environment.

History & Provenance

Born in Flanders, Candid spent his career in Italy and Bavaria, serving the Medici in Florence before joining the court of Duke William V and later Maximilian I in Munich. After its creation, the painting entered the Bavarian royal collection and eventually became part of the Alte Pinakothek’s holdings, where it remains on display.

Context

The work reflects the cross‑cultural influences of early 17th‑century Europe, merging Flemish Baroque vigor with Italian Mannerist elegance. Its subject—two virgin martyrs—aligns with Counter‑Reformation interests in promoting models of piety, while the inclusion of a bustling city and harbor hints at the growing importance of civic identity in religious art of the period.