Bethlehemitischer Kindermord

Strudel employs stark chiaroscuro, juxtaposing deep shadows with bright highlights on weapons and armor to intensify the sense of immediacy. The figures are rendered with exaggerated gestures and near‑luminescent outlines, a hallmark of Baroque visual rhetoric that seeks to engage the viewer’s emotions through dramatic contrast.

Born in Cles, Trentino, Strudel arrived in Vienna in 1676, where he served as a court painter and later established the Strudelhof mansion as his studio and residence. The painting remained in private and court collections before entering the Alte Pinakothek, where it is displayed today.

Strudel’s work bridges the Italianate Baroque influences of his early training with the Flemish dynamism prevalent in Central Europe at the turn of the 18th century. By integrating vigorous movement and theatrical lighting, the painting aligns with contemporary efforts to convey religious narratives with visceral impact.