The first half of the 16th century was a period of rapid change in Northern Europe. It was a time of global expeditions, religious conflict and new learning.
Cities were growing quickly, with Antwerp overtaking Bruges as the largest trading hub and art market in Europe. As well as painting portraits and religious commissions, artists like Quentin Massys developed new satirical subjects. Over the course of the century, the wealth of cities such as Antwerp rested increasingly on European exploitation of people and resources in the Americas and elsewhere in the world.
From 1517, the Reformation split Western Christianity into Protestant and Catholic Churches, spreading religious dissent and war across Europe. The art of Hieronymus Bosch and Pieter Bruegel reflects these anxious times. Protestants believed the use of images could lead to idolatry, so religious commissions declined in reformed cities, causing artists like Hans Holbein to seek better fortunes elsewhere.
Jan Gossaert and Marten van Heemskerck travelled south to Rome. There they studied Antique sculptures at first hand and admired the work of contemporary Italian artists, especially Michelangelo (1475–1564).
