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83:, the leading Flemish history painter in the mid 16th century. There is no evidence for this apprenticeship. Some stylistic similarities with Frans Floris' works that appear in van Cleve's early work and the engravings after his inventions make the apprenticeship plausible. Van Mander also stated that van Cleve did not follow the 16th century trend of Flemish painters to study in Italy. This may explain why van Cleve's work does not show the influence of Italian
279:, were inspired by these subjects. Marten van Cleve is believed to have been an important influence on the development of Pieter Brueghel the Younger's style, along the more widely recognised precedent of his father, Pieter Bruegel the Elder. The peasant wedding was a favourite theme of Cleve. He returned frequently to this subject depicting its various rituals and ceremonies, mostly in the form of cycles of small-scale panels. His
233:. While Beuckelaer's work is clearly a still life, van Cleve's composition is a genre work which emphasizes the anecdotal and genre aspects of the work. Van Cleve's composition may also have an allegorical meaning. A little boy sitting on the threshold of the door is blowing a bubble. The bubble is in fact the bladder of the ox, at the time a children's toy. It is possible that the bubble-blowing boy is a reference to the
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Van Cleve came under the influence of Pieter
Bruegel the Elder's work in the 1560s. It is a certain resemblance with the work of Bruegel (particularly in the numbers of figures depicted), which has led to the often unjustifiable categorization of van Cleve as a follower of Bruegel. He was, however,
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Between 1560 and 1570 Marten van Cleve operated an important workshop with a large output. The majority of the works were copies of Marten's original inventions. It is probable that his own sons also assisted in his studio. Van Cleve was a regular collaborator with a number of prominent landscape
275:, the original of which is probably the painting sold at Kunsthandel Abels, Cologne in 1965. This theme invented by van Cleve became very popular in the next century. His 'The good shepherd' was another original creation, which was widely imitated. Many Flemish artists, and in particular
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Marten van Cleve married Maria de Greve on 7 January 1556. The couple had four sons named Gillis, Marten (called 'Marten the
Younger), Joris and Nicolaas who all became painters. Marten van Cleve had five registered pupils, one of whom became a master. One of his pupils may have been
168:. It is regarded as a youth work and shows the large kitchen of a farm. A couple from the city are in the kitchen to visit their child which they have entrusted to a wet nurse. The work, which is probably dated to around 1555–1560, shows the influence of
38:, c. 1527 – Antwerp, before 24 November 1581) 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
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motive, the idea that life is just a bubble that only lasts a very short time. The dead ox itself is a reminder of death and is thus linked to the 'memento mori' idea, the notion that humans should remember that they are mortal. Together with the
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Marten van Cleve was principally a genre painter, who specialized in peasant scenes and landscapes. Only about five of his works are signed and properly documented. He depicted predominantly low-life scenes of peasant weddings and dances,
210:. On the whole van Cleve's scenes are descriptive rather than allegorical. Van Cleve attempted to correct or modernize Bruegel by a higher level of interest in realism. He also depicted his scenes from a lower viewpoint than Bruegel.
325:. It is believed that while apprenticed in the workshop of Frans Floris, Marten van Cleve assisted in the preparation of print designs after preliminary drawings made by Frans Floris. An example is van Cleve's signed drawing of
42:. 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.
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never an imitator of that master. He took from
Bruegel certain subjects and peasant types but was not interested in following some of the reactionary aspects of Bruegel's work such as the return to
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and his version of this subject was copied even more frequently than the version of Pieter
Bruegel the Elder. The attribution to van Cleve and his workshop of the various versions of the
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has been questioned on stylistic grounds, in particular on the basis of the fact that the more painterly handling of paint that is ascribed to van Cleve is missing in this body of work.
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133:. As the artist only left few signed works, the attribution of works to him has been difficult and several attributions have been rejected in recent years. Even the attributions by Dr.
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in 1518. Based on his own declaration in a document dated 2 April 1567 that he was then 40 years of age, it is assumed van Cleve was born in 1526 or 1527. Marten's elder brother
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Alternative name spellings: Maarten van Cleef, Maerten van Cleef, Marten van Cleef, Marten van Cleef (der Ă„ltere), Maarten van Cleve, Maerten van Cleve, Martin van Cleve
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176:'s peasant scenes from the period 1550–1560. Unlike Aertsen, van Cleve's treatment of space is more modern and his work is free of the influence of the
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as well as his brother
Hendrick for whom he painted the figures. Hendrick reciprocated and added to Marten's figure-pieces landscape backgrounds.
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who were inspired by contemporary
Italian art. The influence of Pieter Bruegel the Elder is not yet visible in this early work.
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To Marten van Cleve have been attributed a lot of designs for prints published by the
Antwerp printers and publishers including
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Carl Van de Velde. "Hendrik van Cleve III." Grove Art Online. Oxford Art Online. Oxford
University Press. Web. 5 August 2019.
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Carl Van de Velde. "Marten van Cleve I." Grove Art Online. Oxford Art Online. Oxford
University Press. Web. 10 March 2016
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was widely copied by his workshop as well as Pieter
Brueghel the Younger. Another popular theme of van Cleve was
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223:, Vienna), which is monogrammed with 'M(v)G' in ligature and dated 1566. It is quite similar to a work of a
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Marten van Cleve Marten died in 1581, at which time he was suffering from gout and rheumatism.
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Marten van Cleve first studied under his father. According to the early Flemish biographer
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of Marten van Cleve's paintings and drawings published in 2014 have been questioned.
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with its unrealistic deformations. Marten van Cleve became a master in the Antwerp
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in its fluid brush stroke. The choice of subject matter was likely influenced by
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Marten van Cleve 1524-1581 : Kritischer Katalog der Gemälde und Zeichnungen
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Marten van Cleve collaborated with many prominent landscape painters, including
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as the son of Willem van Cleve the Elder who had become a master in the Antwerp
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van Cleve has also used various motifs from Pieter Bruegel the Elder's works.
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and his younger brother Willem van Cleve the Younger were both painters.
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Marten van Cleve 1524-1581: catalogue raisonné of paintings and drawings
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Details about the life of Marten van Cleve are scarce. He was born in
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shows that van Cleve preferred a broad and free brushstroke. In the
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Marten van Cleve (1526/27–1581). Prolegomena zu einer Neubewertung
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482:, in: Jahrbuch des Kunsthistorischen Museums 17/18 (2015/16)
335:) made after Floris' design. This drawing was then used by
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Frans Floris (1519/20–70): Imagining a Northern Renaissance
522:, in: Oud Holland, Vol. 80, No. 1 (1965), pp. 34-43, 45-46
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Van Cleve developed a number of new themes such as the
164:, Vienna), which was included in the 1659 inventory of
434:Marten van Cleve I (Antwerp c. 1527-before 1581),
365:engraved the prints after van Cleve's designs.
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361:, Johann Sadeler, Balthazar van den Bos and
455:Geschiedenis der Antwerpsche schilderschool
301:Carnival in a village with beggars dancing
256:Carnival in a village with beggars dancing
241:Carnival in a village with beggars dancing
557:Ertz, Klaus; Nitze-Ertz, Christa (2014).
420:The Netherlands Institute for Art History
565:] (in German). Lingen: Luca Verlag.
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213:Another confirmed authentic work is the
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606:Rembrandt and the Slaughtered Ox
79:Marten van Cleve studied under
457:, Antwerpen, 1883, p. 294-297
192:The blessing of the bridal bed
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631:Prints after Marten van Cleve
436:The Massacre of the Innocents
286:The Massacre of the Innocents
667:Flemish Renaissance painters
277:Pieter Brueghel the Younger
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672:Flemish landscape painters
333:Kupferstichkabinett Berlin
32:Marten van Cleve the Elder
621:. Brill, 2018, pp 183-184
291:Massacre of the Innocents
266:A visit to the wet nurse
221:Kunsthistorisches Museum
162:Kunsthistorisches Museum
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654:at Wikimedia Commons
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89:Guild of Saint Luke
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633:at the Rijksmuseum
604:Niels Bergervoet,
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484:(in German)
273:King Drinks
661:Categories
524:(in Dutch)
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331:(c. 1574,
235:homo bulla
135:Klaus Ertz
113:painters.
182:Romanists
178:Mannerism
127:kermisses
91:in 1551.
85:Mannerism
355:Hans Bol
342:Arachne
328:Arachne
248:), the
137:in his
52:Antwerp
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369:Notes
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