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594:" means "wastefully extravagant"), becomes destitute and has to live in squalor. He returns home with the intention of begging his father to make him one of his hired servants. His father welcomes him back and celebrates his return but the older son refuses to participate. In the centre of the composition Francken depicts the scene of the prodigal son during his wild, high-living days in which he squandered his inheritance. Surrounding this central scene are depicted other scenes of the story in smaller scale and in grisaille.
439:, i.e. comical paintings of monkeys in human activities and attire, often to highlight the folly of humanity. The French-language word 'singerie' means a 'comical grimace, behavior or trick'. Comical scenes with monkeys appearing in human attire and a human environment are a pictorial genre that was initiated in Flemish painting in the 16th century and was subsequently further developed in the 17th century.
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393:. Gallery paintings depict large rooms in which many paintings and other precious items are displayed in elegant surroundings. The earliest works in this genre depicted art objects together with other items such as scientific instruments or peculiar natural specimens. Some gallery paintings include portraits of the owners or collectors of the art objects or artists at work.
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in the 16th century. The grisaille frame echoes the
Renaissance ecclesiastical portal. Each grisaille scene has its own naturalistic perspective and as a result the compositions provide an odd mixture of three-dimensional naturalism and archaic flatness. Francken used this archaizing technique into
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The paintings are heavy with symbolism and allegory and are a reflection of the intellectual preoccupations of the age, including the cultivation of personal virtue and the importance of connoisseurship. The genre became immediately quite popular and was followed by other artists such as Jan
Brueghel
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Francken married
Elisabeth Plaquet 'with the special permission of the bishop' in Antwerp on 8 November 1607. This may have had something to do with the fact that their firstborn son was born before the end of 1607. The son was given the same name as his father and grandfather. He would be known as
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in 1605. He was deacon of the Guild in 1616. Francken's talent was recognised from an early age. He became a very successful artist and operated a large workshop which made many copies of his original compositions. Already in 1607 he was able to buy a house in the city centre where he established his
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Garland paintings were usually collaborations between a still life and a figure painter. In his collaborations on garland paintings
Francken would paint the central figure or representation while the still life painter would create the garland. Together with Andries Daniels, Frans Francken further
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Francken signed his works with 'de jonge Frans
Francken' ('the young Frans Francken') before the death of his father in 1616. From the late 1620s he used the signature 'de oude Fr. Francken' ('the old Fr. Francken'), to distinguish himself from his son Frans III. His father had also started signing
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or gallery paintings displaying a wealth of natural and artistic treasures against a neutral wall. Francken introduced many other unusual themes that later became popular, such as the 'Triumphal
Procession of Amphitrite' and 'Croesus and Solon'. Francken also made a series of paintings depicting
450:. These prints were widely disseminated and the theme was then picked up by other Flemish artists. The first one to do so was Frans Francken the Younger who played an important role in the development of the genre. Other Antwerp artists subsequently contributing to the genre were
369:. This work is believed to have been painted at the occasion of a wedding and combines mythological and Christian symbolism. It presents the eternal choice of mankind between virtue and vice and depicts the three regions of heaven, earth and hell.
268:(after Peter Paul Rubens) that identify him by the Latin inscription: 'ANTVERIÆ PICTOR HVMANARVM FIGVRARVM' (Figure painter of Antwerp). He was frequently invited to contribute figures in compositions by other artists, such as the landscape artists
346:. In front of Philip, personifications of the territories of the Empire with their banners are kneeling down. In the foreground, the personifications of the continents America, Africa, Europe and Asia are offering gifts. On the left,
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established a popular new genre of art in the era. Francken often collaborated with other artists, adding figures and narrative elements to scenes created by specialists in landscape, architectural and floral still life paintings.
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Among his religiously themed works of particular note are the unusual and stylistically 'reactionary' paintings of biblical scenes, which are framed on all sides by smaller scenes in
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and one of the most important creators of altar pieces of his time in
Flanders. Frans Francken the Younger trained with his father Frans the Elder. Frans, together with his brother
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Francken was a versatile artist who practiced in many genres and introduced new subjects into
Flemish art. Many of his works are small historical, allegorical and biblical
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Sensationsergebnis im
Dorotheum - Weltrekord mit 7,02 Mio Euro für Frans Francken II bei der Auktion Alte Meister, Teuerstes jemals in Österreich versteigertes Gemälde
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from the
Christian bible. The parable recounts the story of a father with two sons. The younger son asks for his inheritance and after wasting his fortune (the word "
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in the production of garland paintings. Garland paintings are a special type of still life developed in Antwerp by artists such as Jan Brueghel the Elder,
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Frans Francken the Younger and Jan Brueghel the Elder were the first artists to create paintings of art and curiosity collections in the 1620s, such as
338:). The scene shows Charles V dividing his empire after a life of continuous warfare and ill health, seated on his throne flanked by his successors
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family of artists. He painted large altarpieces for churches as well as smaller historical, mythological and allegorical scenes. His depictions of
512:. They typically show a flower garland around a devotional image or portrait. This genre was inspired by the cult of veneration and devotion to
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developed the genre of garland paintings, creating many special forms, among them garlands around medallions with the decades of the rosary.
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introduced the singerie as an independent theme around 1575 in a series of prints, which are strongly embedded in the artistic tradition of
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his paintings with 'den oude Frans Francken' ('the old Frans Francken') after Frans Francken the Younger had become active as an artist.
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Frans Francken the Younger's pupils included Daniel Hagens (1616/17), the Monogrammist N.F., his brother Hieronymus II and his son
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Frans Francken the Younger was born in Antwerp where he was baptized on 6 May 1581 in the Our Lady Cathedral. He was the son of
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with the focus on figures. He also invented or popularized several new themes that became popular in Flemish painting, such as
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Frans Francken often collaborated with still life specialists such as Andries Daniels, Jan Brueghel the Elder and Younger and
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Frans Francken the Younger likely first worked in the family workshop before he became an independent master in the Antwerp
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Marr, Alexander (2010) 'The Flemish 'Pictures of Collections' Genre: An Overview', Intellectual History Review, 20: 1, 5–25
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1722:. "Mostaert: (2) Gillis Mostaert", Grove Art Online. Oxford Art Online. Oxford University Press. Web. 23 March 2015
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became the principal practitioner of the genre and developed it further with his younger brother
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Seventeenth-Century Flemish Garland Paintings. Still Life, Vision and the Devotional Image
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the 1620s. This style was possibly invented in the 16th century by the Flemish painter
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is riding his seahorse-drawn triumphal chariot, accompanied by mermen, mermaids and
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Grove Art Online. Oxford Art Online. Oxford University Press. Web. 27 February 2014
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and Elisabeth Mertens. His father was a pupil of Antwerp's leading history painter
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court (then the rulers over the Habsburg Netherlands) and in Antwerp generally.
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An Entrance for the Eyes: Space and Meaning in Seventeenth-century Dutch Art
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Frans Francken (II), The Parable of the Prodigal Son c. 1610 - c. 1620
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Francken played a key role in the development of the genre of the
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witches and witchcraft, including portrayals of witches' sabbats.
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painter and the best-known and most prolific member of the large
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Mankind's Eternal Dilemma: The Choice Between Virtue and Vice
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Mankind's Eternal Dilemma: The Choice Between Virtue and Vice
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Allegory on the Abdication of Emperor Charles V in Brussels
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and as an artist he earned himself later the nickname the
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His paintings are held by most major museums in Europe.
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Francken created many allegorical paintings including
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Virgin and Child with Scenes from the Life of Christ
1551:, Metropolitan Museum of Art, New York, 1984, p. 98
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Flemish Paintings in the Metropolitan Museum of Art
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1709:, University of California Press, 2002, p. 35.
532:Later in his life Francken also painted large
1694:Monkey Madness in Seventeenth-Century Antwerp
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1696:, in: The Rubenianum Quarterly, 2012 2, p. 5
1547:Franks Francken III, in: Walter A. Liedtke,
1495:Geschiedenis der Antwerpsche schilderschool
672:. Unsourced material may be challenged and
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692:Learn how and when to remove this message
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576:An example of one of these works is
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1497:, Antwerpen, 1883, pp. 1615–1619
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1634:, Ashgate Publishing, Ltd., 2012
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579:The Parable of the Prodigal Son
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328:Allegory on the Abdication of
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474:. Later in the 17th century
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107:– 6 May 1642, Antwerp) was a
1669:"Jan I Bruegel | Rubenshuis"
300:and flower painters such as
1454:Ursula Härting. "Francken."
1405:at the J. Paul Getty Museum
588:Parable of the Prodigal Son
367:Museum of Fine Arts, Boston
16:Flemish painter (1581–1642)
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1524:Victoria and Albert Museum
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464:Jan van Kessel the Elder
448:Pieter Bruegel the Elder
390:A Cabinet of Curiosities
170:residence and workshop.
130:Frans Francken the Elder
1231:Hieronymus Francken III
298:Bartholomeus van Bassen
290:Hendrik van Steenwijk I
282:Pieter Neeffs the Elder
262:portraits of the artist
1783:Flemish genre painters
1718:Carl Van de Velde and
1240:Ambrosius Francken III
1064:Hieronymus Francken II
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890:Hieronymus Francken I
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442:The Flemish engraver
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142:Hieronymus Francken I
1759:at Wikimedia Commons
1611:4 March 2016 at the
1534:Thomas Christensen,
1518:3 March 2016 at the
1353:Constantijn Francken
942:(Cornelius Francken)
934:Ambrosius Francken I
666:improve this section
631:Francken family tree
117:collectors' cabinets
60:Habsburg Netherlands
1655:in Larousse online
1510:Frans Francken II,
1469:Frans Francken (II)
504:, Andries Daniels,
415:Hieronymus Janssens
411:Gillis van Tilborch
167:Guild of Saint Luke
1737:at the Rijksmuseum
1705:Martha Hollander,
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482:Garland paintings
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373:Gallery paintings
330:Emperor Charles V
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158:Emperor Charles V
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1798:1642 deaths
1793:1581 births
1678:5 September
1657:(in French)
1617:(in German)
1592:Rijksmuseum
1571:5 September
1428:5 September
1423:www.nga.gov
682:April 2015
598:Family tree
584:Rijksmuseum
534:altarpieces
456:the Younger
340:Ferdinand I
336:Rijksmuseum
332:in Brussels
241:Kunstkammer
83:Nationality
70:May 6, 1642
1767:Categories
1653:'Singerie'
1595:(in Dutch)
1499:(in Dutch)
356:Plus Ultra
188:Hieronymus
91:Occupation
1356:1661–1717
1243:1614–1662
1225:1607–1667
1087:1590–1632
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1067:1578–1623
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893:1540–1610
716:1515–1596
653:does not
551:grisaille
421:Singeries
344:Philip II
234:singeries
195:Frans III
176:Frans III
1609:Archived
1516:Archived
592:prodigal
518:Habsburg
437:singerie
264:made by
113:Francken
1590:at the
1522:at the
1471:at the
674:removed
659:sources
352:tritons
348:Neptune
206:General
109:Flemish
105:Antwerp
103:(1581,
94:Painter
86:Flemish
77:Antwerp
56:Antwerp
219:, 1606
1390:Notes
182:(the
146:Paris
1680:2023
1573:2023
1430:2023
657:any
655:cite
514:Mary
508:and
462:and
454:and
413:and
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304:and
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238:and
201:Work
124:Life
67:Died
52:1581
49:Born
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