Art Lovers discussion

Picture of the Day > September 2019 - Antwerp's Golden Age

Comments Showing 1-50 of 75 (75 new)    post a comment »
« previous 1

message 1: by Dirk (new)

Dirk Van | 2755 comments I think you will all agree we’ve had enough abstract art for now ;-)
So let’s focus our attention back to the past.

This time I will limit myself to one picture of the day. As always there is a general theme for each month, what it is won't be disclosed, you get to figure it out (But after a couple of days it will be obvious)

The only rule to this thread is, only the person running this thread can post a picture here. You are welcome to comment on the one posted that day or any other day in the month, or on other people's comments, you can say whatever you want (keeping with the rules of the group of course). So please don't post a picture in this thread. That's all!


Starting in the 16th century:

Quentin Matsys
(1466 - 1530)

Quentin Massys (Dutch: Quinten Matsijs)was a Flemish painter in the Early Netherlandish tradition and a founder of the Antwerp school. He was born in Leuven. There is a tradition alleging that he was trained as an ironsmith before becoming a painter. Matsys was active in Antwerp for over 20 years, creating numerous works with religious roots and satirical tendencies.

The Money Changer and His Wife
Oil on panel
70.5 cm × 67 cm
Louvre, Paris

A man, who is weighing the jewels and pieces of gold on the table in front of him sits next to his wife who is reading a book of devotion with an illustration of the Virgin and Child. The couple is not dressed as members of nobility, but rather as well-to-do burghers of Antwerp, where the painting was made. At the time, Antwerp had grown with the influx of many southern immigrants fleeing the Spanish Inquisition. Among this international community there was a demand for money-changers and money-lenders, as international commerce was increasing in the port city.
The same motief was used 25 years later by Matsys' follower, the painter Marinus van Reymerswaele.
This painting was copied in a painting of the gallery of Cornelis van der Geest by Willem van Haecht a century later in the 1620s. Van der Geest was an admirer of Matsys' work and owned several of his paintings, including The Moneylender and His Wife. He also commemorated Matsys' hundredth death anniversary with a new plaque in the Antwerp Cathedral.

message 2: by Dirk (new)

Dirk Van | 2755 comments Jan de Beer
(c. 1475 – 1528)

Jan de Beer, formerly known as the Master of the Milan Adoration (c. 1475 – 1528) was a Flemish painter, draughtsman and glass designer active in Antwerp at the beginning of the 16th century. He is considered one of the most important members of the loose group of painters active in and around Antwerp in the early 16th century referred to as the Antwerp Mannerists. Highly respected in his time, he operated a large workshop with an important output of religious compositions.

The Annunciation
oil on panel
Height: 112 cm (44 ″); Width: 131 cm (51.5 ″)
Thyssen-Bornemisza Museum, Spain

The Annunciation has a markedly narrative sense, with the Virgin’s sewing implements abandoned on the floor on the Archangel’s arrival and the inclusion of the episode of The Visitation, visible through the window. In both paintings the objects in the rooms are particularly striking elements in the compositions, for example, the vase of lilies in the centre of The Annunciation.

message 3: by Ruth (new)

Ruth | 1897 comments Wow, everything’s in motion.

message 4: by Connie (new)

Connie G (connie_g) | 362 comments I like Quentin Matsys' painting with the little curved mirror in the front showing the window details. Everything is so beautifully balanced.

message 5: by Dirk (new)

Dirk Van | 2755 comments Frans Floris
(1517 – 1570)

Frans Floris, Frans Floris the Elder or Frans Floris de Vriendt was a Flemish painter, draughtsman, print artist and tapestry designer. He is mainly known for his history paintings, allegorical scenes and portraits. He played an important role in the movement in Northern Renaissance painting referred to as Romanism. The Romanists had typically travelled to Italy to study the works of leading Italian High Renaissance artists such as Michelangelo, Raphael and their followers. Their art assimilated these Italian influences into the Northern painting tradition.

Portrait of an Elderly Lady (or The falconer's wife)
Oil on panel
108 x 85 cm
Musée des Beaux-Arts de Caen

message 6: by Dirk (new)

Dirk Van | 2755 comments Hendrick van Cleve III
(c. 1525 - between 1590 and 1595)

Hendrick van Cleve or Hendrik van Cleve III was a Flemish painter, draughtsman and designer of prints. He is known for topographical views, including views of Rome and the Vatican, as well as imaginary landscapes. Traditionally, a large number of depictions of the construction of the Tower of Babel have been attributed to him but most of these are now attributed to anonymous Flemish painters, who are referred to as 'The Hendrik van Cleve III Group'.

View of the Vatican gardens and St Peter’s basilica
16th century
oil on panel
71.5 x 101 cm
Frits Lugt Collection

In 1551 Hendrick van Cleve and his brother Marten were both enrolled as masters in the Antwerp Guild of St Luke. Van Mander (1604) writes that in Italy and elsewhere Hendrick drew a great deal from life that he was able to use in his work, although he did not actually visit all the places he depicted. This view may have been made with other known versions at about the same time in the 1580s. These works are among the earliest painted cityscapes without prominent figures.

message 7: by Ruth (new)

Ruth | 1897 comments He’s a new one for me. The contrast between Northern European painters and those from the south at this time is remarkable.

message 8: by Dirk (new)

Dirk Van | 2755 comments If you go to the link of the Lugt Collection, you can click on the image and have a closer look:

message 9: by Dirk (new)

Dirk Van | 2755 comments Marten van Cleve
(c. 1527 – before 24 November 1581)

Marten van Cleve the Elder, younger brother of Hendrick van Cleve III was a Flemish painter and draftsman active in Antwerp between 1551 and 1581. Van Cleve is mainly known for his genre scenes with peasants and landscapes, which show a certain resemblance with the work of Pieter Bruegel the Elder. Marten van Cleve was one of the leading Flemish artists of his generation. His subjects and compositions were an important influence on the work of Pieter Brueghel the Younger and other genre painters of his generation.

The good Shepherd
oil on panel
49.9 cm x 73 cm
Sold by Sotheby’s NY 30 January 2014 for 125,000 USD

The origin of the subject comes from John (10:1-30): 
I am the good shepherd. The good shepherd lays down his life for the sheep. /
He who is a hireling and not a shepherd, whose own the sheep are not, sees the wolf coming and eaves the sheep and flees; and the wolf snatches them and scatters them. /
He flees because he is a hireling and cares nothing for the sheep. 

Van Cleve cleverly fuses a contemporary Flemish country scene into this moralizing tale. He personifies these words as he depicts the shepherd in the act of fighting with an attacking wolf. 

message 10: by Dirk (new)

Dirk Van | 2755 comments Gillis Mostaert
(1528 – 1598)

Gillis Mostaert the Elder was a Flemish Renaissance painter and draughtsman active in Antwerp in the second half of the 16th century. He was a versatile artist who worked in various genres including landscape, genre and history painting. Gillis Mostaert was known in particular for his winter landscapes and his scenes with fires and nocturnal scenes and his works in this genre were among the most sought after pieces of his time. The artist operated a large workshop in Antwerp, which supplied works to prominent patrons. He was a regular collaborator with leading Antwerp artists of his time.

Military expedition in Winter
circa 1590
Oil on canvas
81,2 x 155,4 cm
Kunsthistorisches Museum, Vienna.

The painting shows the harsh treatment of Protestant villagers in the south (of the Netherlands) by soldiers of the Spanish Inquisition. Spanish oppression worked to benefit the Dutch Republic, however, as Protestant merchants, craftsmen and noblemen fled north to Holland to escape persecution.

message 11: by Dirk (new)

Dirk Van | 2755 comments Frans Pourbus the Elder
(1545 – 1581)

Frans Pourbus the Elder was a Flemish Renaissance painter painter who is known primarily for his portraits and religious compositions. He also painted a few genre scenes. He was the son of the prominent Bruges painter Pieter Pourbus and the father of Frans Pourbus the Younger who became an international portraitist of the European ruling class.

Portrait of a young Lady
Oil on panel
40.5 cm x 32.4 cm
Museum of Fine Arts, Ghent

This portrait is the last known and signed by Pourbus. The identity of the young woman is unknown.

message 12: by Connie (new)

Connie G (connie_g) | 362 comments He did beautiful work painting those eyes!

~☆~Autumn♥♥☔ | 2 comments Connie wrote: "He did beautiful work painting those eyes!"

I agree and her skin is so wonderful! I can never get skin tone right when I paint.

message 14: by Ruth (new)

Ruth | 1897 comments It really is a beautiful painting.

message 15: by Dirk (new)

Dirk Van | 2755 comments John de Critz
(1551 – 1642)

John de Critz or John Decritz was one of a number of painters of Flemish origin active at the English royal court during the reigns of James I of England and Charles I of England. He held the post of Serjeant Painter to the king from 1603, at first jointly with Leonard Fryer and from 1610 jointly with Robert Peake the Elder.
Although de Critz was a prolific painter, few of his works have been clearly identified. The portrait painters of the Elizabethan and Jacobean period often made multiple versions not only of their own paintings but of those of their predecessors and contemporaries, and they rarely signed their work. Portraits by different artists often share poses or iconographical features. Although many paintings are attributed to de Critz, therefore, full authentication is unusual.
Gustav Ungerer has studied the interchanges of portraits, jewellery and other gifts during the negotiations and celebrations which surrounded the Treaty of London, a peace treaty signed with Spain in August 1604 during the conference at Somerset House, when diplomatic exchanges of miniatures and full-length portraits took place in a sustained show of brilliant self-representation. In this context, Ungerer discusses the contested authorship of the famous painting of the two sets of negotiators sitting opposite each other at the conference table, The Somerset House Conference, a work in which John de Critz may have had a hand, either directly or as a source for the copying of figures.

Somerset House Conference
oil on canvas
Height: 205.5 x 277 cm
National Maritime Museum, London

The Somerset House Conference, 1604 is an oil-on-canvas painting depicting the Somerset House Conference held in 1604 to negotiate the end the Anglo-Spanish War. It is a group portrait, depicting the 11 representatives of the governments of England, Spain and the Spanish Netherlands, seated around a conference table, probably in Old Somerset House. Spanish delegation on the left, English delegation on the right.

Link for a pic with annotations:

message 16: by Dirk (new)

Dirk Van | 2755 comments Joos de Momper

Joos de Momper the Younger or Joost de Momper the Younger was one of the foremost Flemish landscape painters between Pieter Brueghel the Elder and Peter Paul Rubens. Brueghel's influence is clearly evident in many of de Momper's paintings.
Joos de Momper was born in an artistic family of Antwerp and was named after his grandfather who was a landscape painter. He learned to paint from his father Bartholomeus de Momper the Elder who was a painter, art dealer, printer and publisher. In 1581 he became a master in the Antwerp Guild of St. Luke at only 17 years old. It was assumed that in the 1580s he travelled to Italy to study. Evidence for this trip was provided when landscape frescoes in the church of San Vitale in Rome, formerly attributed to Paul Bril, were given to Joos de Momper the Younger.

Winter landscape
between 1601 and 1635
oil on panel
43.1 cm x 70.1 cm
Sold by Christie's London on 8 December 2016 lot 8 for GBP 209,000

message 17: by Dirk (new)

Dirk Van | 2755 comments Abel Grimmer
(c. 1570–c. 1620)
Abel Grimmer (family name variations: 'Grimer' and 'Grimmaert') was a Flemish late Renaissance painter, mainly of landscapes and, to a lesser extent, of architectural paintings. His works were important in the development towards more naturalism in Flemish landscape painting. Grimmer was born and died in Antwerp. He learned to paint from his father, the landscape painter Jacob Grimmer. His father Jacob Grimmer had established a name for himself by imitating the work of Pieter Bruegel the Elder on small panel pictures and selling these on the market at low prices.
Abel Grimmer married Catharina Lescornet on 29 September 1591 and became a master of the Antwerp Guild of Saint Luke in 1592. He took over his father's workshop. He worked his whole career in Antwerp. The date of his death is not known exactly and is placed after 1620.

Oil on panel
41 x 57.3 cm. (16.1 x 22.6 in.)
Private collection, The Netherlands

~☆~Autumn♥♥☔ | 2 comments Thanks for sharing that. I was trying to get the interior of the cathedral at Bamburg but I could never get it.

message 19: by Dirk (new)

Dirk Van | 2755 comments You're welcome Autumn. I've been in Scotland but not in Bamburg...

Here are some details, as you can see in those days dogs were allowed and nobody cared about breastfeeding mothers:

~☆~Autumn♥♥☔ | 2 comments Glad you mentioned the dog and the breast feeding mother as I didn't catch those. I am fascinated by these ceilings. I am enamored of the arches and some stained glass windows in some of them.

People in this country are so ridicously uptight about breast feeding.

message 21: by Dirk (new)

Dirk Van | 2755 comments Jacob Hoefnagel
(1573 – c.1632)

Jacob Hoefnagel (also 'Jacobus', 'Jakob' or 'Jakub"), was a Flemish painter, printmaker, miniaturist, draftsman, art dealer, diplomat, merchant and politician. He was the son of the Flemish painter and miniaturist Joris Hoefnagel (1545–1600) who was a court painter to the dukes of Bavaria and Emperor Rudolf II in Prague. Jacob Hoefnagel himself became a court painter to Rudolf II and to the Swedish court. He is noted for his illustrations of natural history subjects as well as his portraits, topographical views, emblems and mythological works, which continue his father's style.

c 1602
Collection Unknown

message 22: by Dirk (new)

Dirk Van | 2755 comments Peter Paul Rubens
(1577 – 1640)

Sir Peter Paul Rubens (/ˈruːbənz/; Dutch: [ˈrybə(n)s]) was a Flemish artist. He is considered the most influential artist of Flemish Baroque tradition. Rubens's highly charged compositions reference erudite aspects of classical and Christian history. His unique and immensely popular Baroque style emphasized movement, color, and sensuality, which followed the immediate, dramatic artistic style promoted in the Counter-Reformation. Rubens specialized in making altarpieces, portraits, landscapes, and history paintings of mythological and allegorical subjects.
In addition to running a large studio in Antwerp that produced paintings popular with nobility and art collectors throughout Europe, Rubens was a classically educated humanist scholar and diplomat who was knighted by both Philip IV of Spain and Charles I of England. Rubens was a prolific artist. The catalogue of his works by Michael Jaffé lists 1,403 pieces, excluding numerous copies made in his workshop.


as it is on display in the Cathedral

The Elevation of the Cross
Oil on wood
462 cm × 341 cm
Cathedral of Our Lady, Antwerp
The Elevation of the Cross (also called The Raising of the Cross) is the name of two paintings, a very large triptych in oil on panel and a much smaller oil on paper painting. Both pieces were painted by the Flemish artist Peter Paul Rubens in Antwerp, Belgium, the original in 1610 and the latter in 1638.
The original is in the Cathedral of Our Lady, as the church for which it was painted has been destroyed. The smaller version is now in the Art Gallery of Ontario, Canada. Another smaller triptych with a different composition, and an oil study, are in the Louvre in Paris.

message 23: by Ruth (new)

Ruth | 1897 comments The poet of the flesh.

message 24: by Dirk (new)

Dirk Van | 2755 comments Anton Mirou
(1578 – 1621/1627)

Antoine, or Anton Mirou was a Flemish Baroque landscape painter of the Frankenthal school. He is known for his wooded and rocky landscapes and landscapes with populated villages. He was also a topographical draftsman whose views were widely disseminated through prints.
Anton Mirou was born in Antwerp where he was baptized on 4 May 1578 in the Cathedral of Our Lady. His family must have been Protestant as they left Antwerp in 1586 after the Fall of Antwerp. The family moved to Frankenthal where a younger brother was born. Mirou made in 1602 a declaration in Frankenthal that he was 24 years of age.
On stylistic grounds it is believed that he trained in Frankenthal under the prominent Flemish landscape Gillis van Coninxloo who resided there from 1588 to 1595. Another Flemish painter active in Germany called Hendrik Gijsmans was possibly also his teacher.
He married in 1602 in Frankenthal with Susanneke Jaspersdr. van Conincxloo. According to an unknown source, he returned to Antwerp in 1620, where he possibly died. He must have died after 1621 and before 8 April 1627 as on the latter date his wife is mentioned as widow

Extensive Landscape with the Rest on the Flight into Egypt
(between 1600 and 1627)
Oil on copper
21 x 30 cm
Private collection

message 25: by Heather, Moderator (new)

Heather | 8333 comments So, I know I am the one who first made the rules of this thread and Dirk has more or less stuck to them, but it is now the 13th day of the month, I’m sure all of us know the theme, are we allowed to post what we think it is now? Or should I stay silent? Maybe I would look a bit ridiculous posting something I’m sure everyone following the thread knows lol.

I’m enjoying this. I’m learning about new art.
And I’m sure the topic hits close to home for Dirk. 😉

message 26: by Ruth (new)

Ruth | 1897 comments No clue.

message 27: by Connie (new)

Connie G (connie_g) | 362 comments I'm enjoying the topic that Dirk has chosen for this month. It's been a good mix of artists I know and an introduction to others.

message 28: by Heather, Moderator (new)

Heather | 8333 comments They all happen to be Flemish artists... is that a coincidence? 😉

message 29: by Dirk (new)

Dirk Van | 2755 comments Thanks you all! Just trying to do my best and having fun at the same time ;-)

Ruth, maybe you've looked only at the pics? When you read the short bio's it will be obvious. Them all being Flemish is part of it.

So Heather, it's clear you figured it out, but it seems now you're the first!

message 30: by Heather, Moderator (last edited Sep 14, 2019 03:38AM) (new)

Heather | 8333 comments Dirk wrote: "Thanks you all! Just trying to do my best and having fun at the same time ;-)

Ruth, maybe you've looked only at the pics? When you read the short bio's it will be obvious. Them all being Flemish is part of it.

So Heather, it's clear you figured it out, but it seems now you're the first! "

Wow! Well, I enjoy reading the bios before the paintings and I happened to be at my PC yesterday and wanted to catch up on the thread so I read quite a few at the same time and saw a pattern. It looked so obvious as I read them (probably because I read several at the same time). But I see that if one only looks at the paintings themselves, it would be impossible to make any connection to come up with some sort of theme.
Was it wrong of me to say what I had observed? And I noticed that Antwerp was mentioned in a lot of them, were all of them from Antwerp? That's why I said it "hit close to home" for you, Dirk. lol

message 31: by Dirk (new)

Dirk Van | 2755 comments No of course it was not wrong of you!
After a couple of days I don't mind people mentioning the theme.

And Antwerp is indeed the common factor: all these artists were either born or lived in Antwerp and worked there.
After two month of abstract art I wanted something completely different and then I thought why not keep it close to home ;-)
At the start I was not sure how many there were... would I find enough for a month?
But it became clear rather quickly that there were more than enough so I decide to make a selection. Start with the oldest and make a mix of well known and obscure (but only if there was an English wiki-page) I still ended up with more than 80 artists ;-)
So what you get this month is only a small selection of Antwerp artists ending halfway through the 17th century.

message 32: by Dirk (new)

Dirk Van | 2755 comments Osias Beert
(c. 1580 – 1623)

Osias Beert or Osias Beert the Elder was a Flemish painter active in Antwerp who played an important role in the early development of flower and "breakfast"-type still lifes as independent genres in Northern European art. He has been recognized as one of the most influential artists of the earliest generation of still life painters in Flanders.

Breakfast still life
(between 1600 and 1624)
Oil on panel
46.4 x 79.3 cm
Rijksmuseum Amsterdam

message 33: by Heather, Moderator (new)

Heather | 8333 comments Dirk wrote: "Osias Beert
(c. 1580 – 1623)

Osias Beert or Osias Beert the Elder was a Flemish painter active in Antwerp who played an important role in the early development of flower and "breakfast"-type stil..."

Referring to the immediate above still life painting, it reminds me of a meme I saw, it's probably one most of us has seen at one time or another. It shows a cartoon of Cezanne painting a still life of a bowl of fruit and says at the bottom something like "one of the first Facebook posts".

message 34: by Ruth (new)

Ruth | 1897 comments You’re right, Dirk. I was skimming the bios and trying to get the theme from the paintings themselves. Btw, I like this last one a lot. I’ve long loved 17th century Northern European still lifes and this is one I’ve not seen before.

message 35: by Heather, Moderator (new)

Heather | 8333 comments I was wondering... I’m not as familiar with many of the European art other than a lot of Italian. Mostly because what we hear most of is Leonardo da Vinci, Michelangelo, Raphael, etc. so many of these are new to me. Is there a lot of difference in the Renaissance art of the different countries? Or is Renaissance just Renaissance irregardless of which country it came from?

message 36: by Dirk (new)

Dirk Van | 2755 comments Most of the artist I posted made a trip to Italy to study with the Renaissance artists, but once back they made their own version and with more and more a focus on nature with landscapes and still lifes and scenes of every day life. Which about halfway the 16th century leads to the Baroque style.

message 37: by Dirk (new)

Dirk Van | 2755 comments Frans Francken the Younger
(1581 – 1642)

Frans Francken the Younger was a Flemish painter and the best-known member of the large Francken family of artists. Francken created altarpieces and painted furniture panels, but his reputation chiefly relies on his small and delicate cabinet pictures with historical, mythological, or allegorical themes. He played an important role in the development of Flemish art in the first half of the 17th century through his innovations in many genres including genre painting and his introduction of new subject matter. He was a frequent collaborator of leading Antwerp painters of his time.

Mankind's Eternal Dilemma: The Choice Between Virtue and Vice
Oil on Panel
142 x 210.8 cm
Museum of Fine Arts, Boston

Detail: The Devil

message 38: by Dirk (new)

Dirk Van | 2755 comments Abraham Govaerts
(1589 – 1626)
Abraham Govaerts was a Flemish painter who specialized in small cabinet-sized forest landscapes in the manner of Jan Brueghel the Elder and Gillis van Coninxloo. He was a regular collaborator with other artists who were specialists in specific genres. Govaerts would paint the landscape while these specialists painted the figures, animals or still life elements.
He was born in Antwerp where his father was an art dealer. There is no information on his training. In view of the influence on his early oeuvre of Jan Brueghel the Elder, some believe he may have apprenticed in the latter’s workshop but there is no evidence for this. He became a master in Antwerp's Guild of Saint Luke in 1607–1608.

Wooded Landscape with peasants

first half of 17th century
oil on panel
66.6 cm x 51.9 cm
Private collection
Sold At Sotheby's 15 NOVEMBER 2005, Amsterdam for 37,200 EUR

message 39: by Dirk (new)

Dirk Van | 2755 comments Clara Peeters
(? 1580’s –1621 or between 1654 and 1676)

Clara Peeters was a still-life painter who came from Antwerp and trained in the tradition of Flemish Baroque painting, but probably made her career mostly in the new Dutch Republic, as part of Dutch Golden Age painting. Many aspects of her life and work remain very unclear, especially outside the period 1607 to 1621 from which period dated paintings are known. As Seymour Slive puts it "Not a single uncontested document has surfaced about her life but there is reason to believe she was active in both Flanders and Holland."

Mesa (table)
Oil on Panel
52 x 73 cm
Museo del Prado, Madrid

Detail 1

Detail 2

I posted Clara Peeters also here:

message 40: by Ruth (new)

Ruth | 1897 comments ❤️

message 41: by Dirk (new)

Dirk Van | 2755 comments Gerard Seghers
(1591 – 1651)
Gerard Seghers was a Flemish painter, art collector and art dealer. After a period of study and residence in Rome, he returned to Flanders where he became one of the leading representatives of the Flemish Caravaggisti movement. In his later career he abandoned the Caravaggist style and genre motifs to become an important painter of large altarpieces for local churches.

The Denial of St. Peter
Circa 1620-1625
157,5 x 227,3 cm
Oil on canvas
North Carolina Museum of Art, Raleigh


message 42: by Ruth (new)

Ruth | 1897 comments Sure does look like Caravaggio.

message 43: by Dirk (new)

Dirk Van | 2755 comments Jan Roos
(1591 – 1638)

Jan Roos , was a Flemish artist who, after training in Antwerp, mainly worked in Italy where he was called Giovanni Rosa. He was known for his still life paintings of flowers and vegetables, mythological and religious scenes and portraits. His style of still life painting had an important influence on the art of the local painters of the Genoese school.

Retrato de un joven (Portrait of a young man)
oil on canvas
172 x 111 cm
Museo del Prado, Madrid.


message 44: by Dirk (new)

Dirk Van | 2755 comments Jacob Jordaens
(1593 – 1678)

Jacob (Jacques) Jordaens was a Flemish painter, draughtsman and tapestry designer known for his history paintings, genre scenes and portraits. After Peter Paul Rubens and Anthony van Dyck, he was the leading Flemish Baroque painter of his day. Unlike those contemporaries he never travelled abroad to study Italian painting, and his career is marked by an indifference to their intellectual and courtly aspirations. In fact, except for a few short trips to locations in the Low Countries, he remained in Antwerp his entire life. As well as being a successful painter, he was a prominent designer of tapestries.

Self portrait
(c. 1648 - 1650)
Oil on canvas
101 x 84 cm
Rubenshuis, Antwerp

message 45: by Dirk (new)

Dirk Van | 2755 comments Willem van Haecht
(1593 – 1637)

Willem van Haecht was a Flemish painter best known for his pictures of art galleries and collections. Willem van Haecht was born in Antwerp as the son of the landscape painter Tobias Verhaecht. Tobias Verhaecht was a prominent painter who had been the first teacher of Peter Paul Rubens. Willem was a pupil of his father.
He worked in Paris from 1615 to 1619, and then travelled to Italy for about seven years. Van Haecht became a master in Antwerp's guild of St. Luke in 1626 and from 1628 onwards was the curator of the art collection owned by Cornelis van der Geest.

Apelles painting Campaspe
c. 1630
Oil on Panel
104.9 x 148.7 cm.
Mauritshuis, The Hague

Detail ( remember the first picture of this month?)

Detail 2 Here you can see what the title refers to.

message 46: by Dirk (new)

Dirk Van | 2755 comments Pieter van Mol
(1599 – 1650)
Pieter van Mol or Peter van Mol was a Flemish painter known for his history paintings of religious subject matter, and to a lesser extent for his allegorical compositions, genre scenes and portraits. His style was profoundly influenced by Rubens, Abraham Janssens and Artus Wolffort. He was court painter to the King and Queen of France.

bearded man
Oil on Panel
54 x43 cm
Sold on 30.04.2019, Palais Dorotheum, Vienna. Realized prize: €68,557.- (USD 76,000 .-)

Pieter van Mol trained in the workshop of Artus Wolffort, who like van Mol’s other great influence, Peter Paul Rubens, was a pupil of Otto van Veen. By 1623/4 he was made a master of the Antwerp Guild of Saint Luke, and in 1631 moved to Paris where by 1640 he was recorded as court painter to the French Queen, Anne of Austria. Commissioned there to paint a major work The Adoration of The Shepherds for the Abbey of Saint-Germain-des-Près (now in the Musée des Beaux-Arts Marseille), he was later a founding member of the Académie Royale de Peinture et de Sculpture which was established nearby in 1648.

The present painting is a fine example of a head study by the hand of the mature painter and shows a clear affinity for the Rubens school. The exact date of execution is difficult to determine, as despite frequent mentions in inventories, both dated works and surviving tronies by the artist are rare. A date of circa 1630 has been suggested, which would place the work at the end of the artist’s Antwerp period. The impasto on the forehead and rendering of the wrinkles correspond to van Mol’s Diogenes Searching for an Honest Man in the Musée des Beaux-Arts, Orléans.

message 47: by Dirk (new)

Dirk Van | 2755 comments Alexander Keirincx
(1600 - 1652)

Alexander Keirincx was trained as a Flemish landscape painter who later moved to Utrecht and ultimately to Amsterdam in the Dutch Republic. He was born in Antwerp on 23 January 1600 as the son of Matthijs Keirincx and Anna Mason. He became a master in Antwerp's guild of St. Luke in 1619, and like his teacher Abraham Govaerts he initially specialized in small cabinet-sized forest landscapes in the manner of Jan Brueghel the Elder and Gillis van Coninxloo. Also like Govaerts, Keirincx's early works typically show history, mythological or biblical subjects within a Mannerist three-color, schematic landscape bracketed by repoussoir trees. However, during the 1620s and 1630s his landscapes become increasingly naturalistic, influenced by Dutch tonalism in the manner of Pieter de Molyn, Jan van Goyen and others.

Oil on canvas
156 x 125 cm
Museum Boijmans Van Beuningen

Figures on the paintings by Keirincx were mostly done by another artist. On this painting it is possibly the work of Pauwels van Hillegaert or Hendrick Pacx.

message 48: by Ruth (new)

Ruth | 1897 comments Creepy

message 49: by Dirk (new)

Dirk Van | 2755 comments Indeed, perfect decor for a horror movie !
but did you see what's really happening?
It's a deerhunt which is creepy in it's own way:

message 50: by Dirk (new)

Dirk Van | 2755 comments Jean-Michel Picart
(1600 – 1682)

Jean-Michel Picart or Jean-Michel Picard was a Flemish still life painter and art dealer active in France. After training in Antwerp, he moved to Paris where he had a brilliant career and became court painter to king Louis XIV. He is known for his flower and fruit still lifes. He was together with Jean-Baptiste Monnoyer one of the most successful still life painters in France in his time. As an art dealer he was a link between Antwerp dealers and the Paris market.

A still life of a basket of flowers and a mound of fruit on a sculpted stone table, partly covered with a blue velvet, gold-and-silver fringed cloth with drapery and a stone column in the background,
oil on canvas
115.5 x 159.5 cm
sale, Sotheby’s New York, 24 January 2008, lot 55, sold for $ 601,000 (as Jean-Michel Picart in collaboration with Willem van Aelst and revised in a saleroom notice to Jean Michel Picart);
with Bernheimer-Colnaghi, Munich/London;
Private collection, Bavaria

In this superb canvas, the artist from Antwerp shows his ability to depict every realistic detail meticulously; from the defects on the fruit peel to the withering leaves, down to the precious cloth covering the table and the curtains in the background. It also shows the painstaking attention to detail that was typical of the great Flemish tradition and, at the same time, the taste for lush nature appreciated in the Paris of Louis XIV. Picart was so admired for these abilities that Félibien included him in his list of “Noms des peintres les plus celebres et les plus connus anciens at modernes” (A. Felibien, Entretiens sur les vies et sur les ouvrages des plus excellents peintres anciens et modernes, Paris, 1666–1668).


« previous 1
back to top