Van Mol was neither a pupil nor assistant of Rubens, but his works exemplified a strong influence and admiration for the style of Rubens. Van Mol trained under Artus Wolffort, who was a fellow of Rubens when they were both students of Otto van Veen. In 1623, Van Mol was appointed master in the Guild of St. Luke and excelled in creating historical and allegorical paintings. His manner of composing musculature and figures was greatly reminiscent of Rubens’ championed baroque style. Van Mol allegedly accompanied Rubens during his travel to France in 1625 to complete the Marie de’ Medici cycle commission, but there is no evidence that Van Mol participated or assisted Rubens.
Schut was an Antwerp-based painter and etcher, who specialized in engravings and tapestry designs. He was registered as a master in the Guild of St. Luke in 1618 but there is no evidence of his apprenticeships prior to this date. From the copies of Rubens’ works that Schut produced, it is speculated that Schut trained in Rubens’ workshop. However, it is equally likely that Schut was following the baroque iconography popular at the time.
Also known as Jan Thomas van Ieperen, Thomas was a painter, portraitist and draughtsman speculated to have worked in Rubens’ workshop in the 1630s. However, there is no documented evidence to support this. Thomas became a master in the Guild of St. Luke in 1639 – 40. He painted many history and allegorical paintings in his career, exemplifying pastoral motifs that were heavily inspired by Rubens’ Baroque style.