Hendrik Frans Verbrugghen

Hendrik Frans Verbrugghen or Hendrik Frans Verbruggen (alternative first names: Hendrik Fransiscus, Henricus-Franciscus and Frans) (Antwerp, April 30, 1654 – Antwerp, December 12, 1724) was a Flemish sculptor and draftsman, who is best known for his Baroque church furniture in various Belgian churches.

He was born into a family from which in the 17th and 18th century a number of prominent sculptors emerged who were mainly active in Antwerp. His father, the sculptor Pieter Verbrugghen I, was one of the principal representatives of Flemish high baroque sculpture. The father had been a pupil of Erasmus Quellinus I, who was himself the founder of a prominent family of artists. The father married the daughter of his master Erasmus Quellinus. From this marriage Hendrik Frans Verbruggen was born. His brother Pieter Verbrugghen II was also a sculptor and worked in the workshop of his father.

Hendrik Frans Verbruggen was trained by his father. Nonetheless, he did not start his career as a sculptor but as a draughtsman working with the illuminator Jan Ruyselinck. It can not be ruled out that like his brother Pieter, he made a trip to Italy after completing his training. This trip has not been documented. The obvious influence of the Italian sculptor Gianlorenzo Bernini on his work could also be explained by Hendrik Frans Verbruggen drawing inspiration from the drawings after the works of Bernini and antique sculptures that his brother made in Rome.

He became a master sculptor at the Antwerp Guild of Saint Luke in 1682. That year he married Susanna Verhulst. He became dean of the Guild of Saint Luke in 1689. In 1713 he went bankrupt but this did not prevent him from completing ongoing commissions.

He was the master of Egidius Adrianus Nijs and Marcus de Cock.

Hendrik Frans Verbruggen was active during the Baroque period when the Catholic Church was the main sponsor of artists in the Southern Netherlands. He therefore worked principally on religious commissions and became one of the leading sculptors of the late Baroque church furniture. This furniture has more depth than the high baroque altars of his father and brother. The three-dimensional altars are often designed to allow the placing of a sculpture although sometimes they served to hang a painting. The latter is the case in the St. Augustine Church in Antwerp, where a painting by Rubens has been placed in the altar. Hendrik Frans Verbruggen was one of the founders of the so-called naturalistic pulpits. These appear as a single grand sculpture in which the constructive form disappears. Examples are the pulpit in St. Augustine Church in Antwerp and the pulpit designed for the Church of Saint Michael in Leuven (now in the Cathedral of Brussels). In the pulpit of the St. Augustine Church in Antwerp he used the grain of the wood to depict the wrinkles of the face of St. Augustine and the texture of his clothes.

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