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Oil Paintings
Come From United Kingdom
An option that you can own an 100% hand-painted oil painting from our talent artists. |
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MASSYS, Quentin Flemish Northern Renaissance Painter, ca.1465-1530
Quentin Massys, also spelled Matsys or Metsys, was born in Louvain, the son of a blacksmith. He is traditionally thought to have been trained in that craft by his father. Art in Louvain while Massys was growing up was dominated by Dirk Bouts. Massys became a member of the painters' guild in Antwerp in 1491 and died there in 1530. He represented a current of painting that flourished in Antwerp at this time of its sudden new prosperity. Erwin Panofsky (1953) described this trend, "archaism of around 1500," as "a prelude to, in fact a fact of, the Renaissance in Netherlandish painting," which prevailed in the southern Netherlands. The monumental Enthroned Madonna (Brussels), an early work by Massys, has features recalling both Robert Campin and Jan van Eyck. The central panel of Massys' imposing St. Anne Altarpiece, or the Holy Kinship (Brussels), which was commissioned for the church of St-Pierre in Louvain in 1507 and signed and dated 1509, has a prototype in the Holy Kinship of Geertgen tot Sint Jans. Even the physical types and costumes in Massys' version refer to Geertgen's. But Massys placed his rhythmically balanced figure groups in a domed, arcaded loggia that in architectural style appears to be reaching for a Renaissance vocabulary it cannot quite attain; certainly the architecture evokes a later period than that represented by the Gothic throne of the Enthroned Madonna. The calm and restraint of the St. Anne Altarpiece are replaced by heightened emotional expression in the next important painting by Massys that can be firmly dated, the Deposition triptych (Antwerp). This was commissioned in 1508 by the guild of joiners in Antwerp for their chapel in the Cathedral; Massys completed the composition in 1511. It was inspired by Rogier van der Weyden's great Deposition, which was in the church of St-Pierre in Louvain in Massys' time, and also quotes from Rogier's Entombment. Massys painted genre subjects, possibly with emblematic meaning, such as A Money Changer and His Wife, which belonged to a Netherlandish tradition that maintained its popularity right through the 17th century. In portraiture he made significant contributions. His pair of portraits of Erasmus and Petrus Aegidius, painted in 1517 for Sir Thomas More, set the pattern for representations of the scholar in his study. |
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MASSYS, Quentin St Anne Altarpiece sg 1507-08
Oil on wood, 224,5 x 219 cm (centre), 220 x 92 cm (each wing)
Mus??es Royaux des Beaux-Arts, Brussels
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MASSYS, Quentin St Anne Altarpiece (central panel) g 1507-08
Oil on wood, 224,5 x 219 cm
Mus??es Royaux des Beaux-Arts, Brussels
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MASSYS, Quentin St Anne Altarpiece (detail) rfg 1507-08
Oil on wood
Mus??es Royaux des Beaux-Arts, Brussels
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MASSYS, Quentin St Anne Altarpiece (right wing, detail) eh 1507-08
Oil on wood
Mus??es Royaux des Beaux-Arts, Brussels
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MASSYS, Quentin St John Altarpiece dfh 1507-08
Oil on wood, 260 x 504 cm
Koninklijk Museum voor Schone Kunsten, Antwerp
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MASSYS, Quentin St John Altarpiece (central panel) g 1507-08
Oil on wood
Koninklijk Museum voor Schone Kunsten, Antwerp
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MASSYS, Quentin St John Altarpiece (left wing) sg 1507-08
Oil on wood
Koninklijk Museum voor Schone Kunsten, Antwerp
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MASSYS, Quentin St John Altarpiece (right wing) dh 1507-08
Oil on wood
Koninklijk Museum voor Schone Kunsten, Antwerp
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MASSYS, Quentin St John Altarpiece (detail) g 1507-08
Oil on wood
Koninklijk Museum voor Schone Kunsten, Antwerp
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MASSYS, Quentin The Adoration of the Magi dh 1526
Tempera and oil on wood
Metropolitan Museum of Art, New York
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MASSYS, Quentin Christ on the Cross with Donors (detail) sg c. 1520
Oil on wood
Museum Mayer van den Bergh, Antwerp
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MASSYS, Quentin Ecce Homo dhy c. 1515
Oil on panel, 160 x 120 cm
Museo del Prado, Madrid
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MASSYS, Quentin Entombment dh c. 1525
Wood
Stedelijke Musea, Leuven
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MASSYS, Quentin The Moneylender and his Wife sg 1514
Oil on panel, 71 x 68 cm
Mus??e du Louvre, Paris
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MASSYS, Quentin The Moneylender and his Wife (detail) sdg 1514
Oil on panel
Mus??e du Louvre, Paris
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MASSYS, Quentin The Moneylender and his Wife (detail) sg 1514
Oil on panel
Mus??e du Louvre, Paris
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MASSYS, Quentin Portrait of an Old Man sg c. 1517
Oil on wood, 48 x 37 cm
Mus??e Jacquemart-Andr??, Paris
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MASSYS, Quentin Portrait of a Canon atuy 1510s
Oil on wood, 60 x 73 cm
Collection of the Prince of Lichtenstein, Vaduz
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MASSYS, Quentin St Christopher sh Oil on wood
Koninklijk Museum voor Schone Kunsten, Antwerp
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MASSYS, Quentin Portrait of Erasmus of Rotterdam sg 1517
Oil on panel, transferred to canvas, 59 x 46,5 cm
Galleria Nazionale d'Arte Antica, Rome
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MASSYS, Quentin
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Flemish Northern Renaissance Painter, ca.1465-1530
Quentin Massys, also spelled Matsys or Metsys, was born in Louvain, the son of a blacksmith. He is traditionally thought to have been trained in that craft by his father. Art in Louvain while Massys was growing up was dominated by Dirk Bouts. Massys became a member of the painters' guild in Antwerp in 1491 and died there in 1530. He represented a current of painting that flourished in Antwerp at this time of its sudden new prosperity. Erwin Panofsky (1953) described this trend, "archaism of around 1500," as "a prelude to, in fact a fact of, the Renaissance in Netherlandish painting," which prevailed in the southern Netherlands. The monumental Enthroned Madonna (Brussels), an early work by Massys, has features recalling both Robert Campin and Jan van Eyck. The central panel of Massys' imposing St. Anne Altarpiece, or the Holy Kinship (Brussels), which was commissioned for the church of St-Pierre in Louvain in 1507 and signed and dated 1509, has a prototype in the Holy Kinship of Geertgen tot Sint Jans. Even the physical types and costumes in Massys' version refer to Geertgen's. But Massys placed his rhythmically balanced figure groups in a domed, arcaded loggia that in architectural style appears to be reaching for a Renaissance vocabulary it cannot quite attain; certainly the architecture evokes a later period than that represented by the Gothic throne of the Enthroned Madonna. The calm and restraint of the St. Anne Altarpiece are replaced by heightened emotional expression in the next important painting by Massys that can be firmly dated, the Deposition triptych (Antwerp). This was commissioned in 1508 by the guild of joiners in Antwerp for their chapel in the Cathedral; Massys completed the composition in 1511. It was inspired by Rogier van der Weyden's great Deposition, which was in the church of St-Pierre in Louvain in Massys' time, and also quotes from Rogier's Entombment. Massys painted genre subjects, possibly with emblematic meaning, such as A Money Changer and His Wife, which belonged to a Netherlandish tradition that maintained its popularity right through the 17th century. In portraiture he made significant contributions. His pair of portraits of Erasmus and Petrus Aegidius, painted in 1517 for Sir Thomas More, set the pattern for representations of the scholar in his study.
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