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168:. The multitude of objects refers to the various forms of visual perception and man's desire to take possession of the things he sees by understanding them. The world map in the foreground further alludes to man's ability to observe and understand distant worlds. In contrast, the monkey in the foreground of the painting is only capable of achieving the lowest, most superficial level of seeing, the staring at things without genuine understanding. Even the use of two pairs of spectacles does not help the poor animal.
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164:(Auctioned at Dorotheum on 19 April 2016 in Vienna, lot 29) where the sense of sight is represented primarily by the woman regarding herself in the mirror. This act also alludes to another theme, that of vanity, which is further evoked by the still life painting on the right. The room with its variety of precious objects, scientific instruments, paintings and sculptures has taken the semblance of a '
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Wouters' style and subject matter reflect the taste of his international aristocratic clients who preferred small paintings, decorative landscapes and mythological stories. Other themes appreciated by these patrons were scenes dealing with alchemy, the four elements, Allegories of the Five Senses as
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and was later influenced by Rubens and in particular Rubens' landscape paintings. After entering the service of
Archduke Leopold William, Wouters' work demonstrated the increased influence of Anthony van Dyck and the human figures in his paintings became elongated and emotionally expressive. He
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In
Antwerp he collaborated again with his former master Pieter van Avont mainly adding landscapes to van Avont's compositions. He became involved in the art market. In this capacity he assisted in the valuation of the paintings in Rubens' estate. His marriage to Maria Doncker, daughter of the
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well as iconographical themes that allowed for different levels of interpretation based on a number of references and allusions, or devices such as the 'picture within a picture'. An example is the
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treasurer of
Antwerp, in 1644 provided him with a substantial fortune. In 1648, he became dean of the Antwerp Guild of St. Luke. He was involved in the sale of the art collection of
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the following year. He participated, under the direction of Rubens, in the decoration of the city of
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by the
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Grove Art Online. Oxford Art Online. Oxford
University Press. Web. 15 April 2014
231:. Lannoo Publishers (Acc) (March 14, 2008), (p. 32), Retrieved 25 October 2013
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127:. He was described in 1658 as Charles’s 'ayuda de cámera' (chamberlain).
206:. Pelican history of art. New Haven: Yale University Press. p. 111.
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De groote schouburgh der
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painted biblical scenes and mythological landscapes in this style.
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BALIS, A., ‘Rubens and his Studio: Defining the
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in 1629 but broke his contract to move to the workshop of
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393:Artists from Antwerp Province
263:Franciscus Wouters biography
413:Pupils of Peter Paul Rubens
16:Flemish painter (1612–1659)
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383:Flemish landscape painters
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229:Rubens. A Genius at Work
378:Flemish history painters
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34:(1612–1659) was a
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322:An Allegory of Sight
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278:(in Dutch)
269:(1718) by
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173:Mannerism
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