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Between 1602 and 1628 Maarten Pepijn took on eight apprentices. In addition to his own children, his pupils were Hans Caes, Claes Fopsen, Hans Bosken (all 1602), Matthieu
Matthiesen (1613), Matthys Goossens (1620/21), François Lemmens (1620/21), Joris Sebil (1620/21) and François van Boost (1625/26
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There is still uncertainty as to whether a number of cabinet pictures that depict genre scenes, in particular of ball scenes at court, that are now attributed to Marten Pepijn are in fact by his hand. Some of these pictures bearing a monogram show a style, which is completely different from the
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Marten Pepijn was mainly known for his large religious compositions, and in particular, altarpieces. His style in these works is old-fashioned. The figures are generally depicted in stiff poses reminiscent of 16th-century sculpture. His work shows a distinctive influence by
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The difference between the styles of these smaller compositions and his larger, religious works has yet to be satisfactorily explained. Some historians have suggested that possibly the smaller works are the work of a family member such as a son or brother of Pepijn.
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as the son of WIllem Pepijn and
Catharina van den Berg. His father was a buyer of used clothes and art dealer in Antwerp. It is not clear with whom Marten trained. In 1600 he was admitted as a master in the Antwerp
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large-scale, muscular religious works of Pepijn. These works are believed to have been produced in a period when Pepijn had close contact with the leading
Antwerp painter
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He married on 1 December 1601 with Marie
Huybrechts (her death debt was paid between 1647 and 1648) with whom he had five children: Willem, Adriaan, Marten, Martha and
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103:(1619–1668) became a notable portrait painter in the style of Rubens and van Dyck. A son also became a painter but nothing his known about his work.
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These small-scale compositions contain little figures with stereotyped faces and soft contours. This style is found in his allegories of the
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of 1602, which is the exterior of the right wing of a triptych painted by multiple
Antwerp masters for the Guild of St Luke in Antwerp (
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Ursula Härting. "Pepyn, Maarten." Grove Art Online. Oxford Art Online. Oxford
University Press. Web. 16 March 2015
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Pepijn's work is further characterized by its excellent portraiture. This is demonstrated in the composition
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Marten Pepijn suffered of ill health at the end of his life and died in
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as a 'wijnmeester', i.e. the son of a member. The 17th-century
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wrote that there was rivalry between Pepijn and Rubens, this is unlikely since
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De groote schouburgh der
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Iconoclasm and painting in the revolt of the
Netherlands, 1566-1609
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that Pepijn visited Italy but there is no evidence of such trip.
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Although Cornelis de Bie and the early Dutch artist biographer
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Name variations: Marten Pepyn, Maarten Pepyn, Marten Pupyn
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and Ambrosius Francken the Elder, see: David Freedberg,
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The other artists who worked on the triptych included
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Geschiedenis der Antwerpsche Schilder-school, Part 1
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