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605:" 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.
450:, 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.
655:
404:. 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
461:. 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
380:. 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.
279:(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
357:. 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
349:). 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
523:. 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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1733:. "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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and some works of Mostaert in this style have been erroneously attributed to Frans Francken.
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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.
597:, Amsterdam). The panel shows various scenes from the
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Francken created many allegorical paintings including
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Virgin and Child with Scenes from the Life of Christ
1562:, 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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1720:, University of California Press, 2002, p. 35.
543:Later in his life Francken also painted large
1705:Monkey Madness in Seventeenth-Century Antwerp
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1707:, in: The Rubenianum Quarterly, 2012 2, p. 5
1558:Franks Francken III, in: Walter A. Liedtke,
1506:Geschiedenis der Antwerpsche schilderschool
683:. Unsourced material may be challenged and
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242:populated by monkeys (also referred to as
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703:Learn how and when to remove this message
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1504:in: Frans Jozef Peter Van den Branden,
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1573:"Portrait of Frans Francken the Elder"
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587:An example of one of these works is
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1508:, Antwerpen, 1883, pp. 1615–1619
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590:The Parable of the Prodigal Son
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339:Allegory on the Abdication of
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291:, the architectural painters
118:– 6 May 1642, Antwerp) was a
1680:"Jan I Bruegel | Rubenshuis"
311:and flower painters such as
1465:Ursula Härting. "Francken."
1416:at the J. Paul Getty Museum
599:Parable of the Prodigal Son
378:Museum of Fine Arts, Boston
27:Flemish painter (1581–1642)
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1768:Frans Francken the Younger
1535:Victoria and Albert Museum
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1789:Flemish history painters
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475:Jan van Kessel the Elder
459:Pieter Bruegel the Elder
401:A Cabinet of Curiosities
181:residence and workshop.
141:Frans Francken the Elder
1242:Hieronymus Francken III
309:Bartholomeus van Bassen
301:Hendrik van Steenwijk I
293:Pieter Neeffs the Elder
273:portraits of the artist
1794:Flemish genre painters
1729:Carl Van de Velde and
1251:Ambrosius Francken III
1075:Hieronymus Francken II
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1799:Painters from Antwerp
1095:Ambrosius Francken II
901:Hieronymus Francken I
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153:Hieronymus Francken I
1770:at Wikimedia Commons
1622:4 March 2016 at the
1545:Thomas Christensen,
1529:3 March 2016 at the
1364:Constantijn Francken
953:(Cornelius Francken)
945:Ambrosius Francken I
677:improve this section
642:Francken family tree
128:collectors' cabinets
71:Habsburg Netherlands
1666:in Larousse online
1521:Frans Francken II,
1480:Frans Francken (II)
515:, Andries Daniels,
426:Hieronymus Janssens
422:Gillis van Tilborch
178:Guild of Saint Luke
18:Frans Francken (II)
1748:at the Rijksmuseum
1716:Martha Hollander,
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341:Emperor Charles V
236:cabinet paintings
169:Emperor Charles V
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1809:1642 deaths
1804:1581 births
1689:5 September
1668:(in French)
1628:(in German)
1603:Rijksmuseum
1582:5 September
1439:5 September
1434:www.nga.gov
693:April 2015
609:Family tree
595:Rijksmuseum
545:altarpieces
467:the Younger
351:Ferdinand I
347:Rijksmuseum
343:in Brussels
252:Kunstkammer
94:Nationality
81:May 6, 1642
1778:Categories
1664:'Singerie'
1606:(in Dutch)
1510:(in Dutch)
367:Plus Ultra
199:Hieronymus
102:Occupation
1367:1661–1717
1254:1614–1662
1236:1607–1667
1098:1590–1632
1089:1581–1642
1078:1578–1623
1069:1574–1625
948:1544–1618
915:1542–1616
904:1540–1610
727:1515–1596
664:does not
562:grisaille
432:Singeries
355:Philip II
245:singeries
206:Frans III
187:Frans III
1620:Archived
1527:Archived
603:prodigal
529:Habsburg
448:singerie
275:made by
124:Francken
1601:at the
1533:at the
1482:at the
685:removed
670:sources
363:tritons
359:Neptune
217:General
120:Flemish
116:Antwerp
114:(1581,
105:Painter
97:Flemish
88:Antwerp
67:Antwerp
230:, 1606
1401:Notes
193:(the
157:Paris
1691:2023
1584:2023
1441:2023
668:any
666:cite
525:Mary
519:and
473:and
465:and
424:and
353:and
315:and
307:and
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212:Work
135:Life
78:Died
63:1581
60:Born
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155:in
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