There, he worked first for Archduchess Isabella, and was later the court painter for Cardinal-Infante Ferdinand and Archduke Leopold Wilhelm. For them he painted scenes of victorious battles in the tradition of sixteenth-century tapestries.
Snayers also collaborated with Peter Paul Rubens on several occasions, including the never-finished Life of Henry IV (1628–30) and the Torre de la Parada series (c. 1637–1640). He also painted portraits of aristocracy in Brussels and large landscapes. Snayers's best-known pupil was Adam Frans van der Meulen.
Snayers died at Brussels in 1666 or 1667.
Snayers' historical battle scenes demonstrate a close attention to topographic accuracy. Frequently, his paintings show a shallow foreground that recedes sharply to show a besieged town from a bird's-eye perspective.
- Hans Vlieghe, Flemish Art and Architecture 1585-1700, New Haven: Yale University Press (1998): 173. ISBN 0-300-07038-1
- Carl van de Velde, "Snayers, Pieter" Grove Art Online. Oxford University Press, [accessed 9 March 2008].
- Konrad Renger and Claudia Denk, Flämische Malerei des Barock in der Alten Pinakothek, Munich: Pinakothek-DuMont (2002): 167. ISBN 3-8321-7255-6
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- Liedtke , Walter A. (1984). Flemish paintings in the Metropolitan Museum of Art. New York: The Metropolitan Museum of Art. ISBN 0870993569. (p. 241-243, v.1; plate 92, v.2).