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and
Brouwer himself (c. 1636, Metropolitan Museum of Art, New York). Jan Cossiers is the second figure on the right and appears to have smoke in his mouth, as if tasting it before exhaling. This type of group portrait doubled as a representation of one of the five senses (in this case the sense of
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and religious subjects as well as portraits. Cossiers was one of the leading painters in
Antwerp after Rubens' death in 1640 and one of the most original colorists in 17th-century Flanders. He was an accomplished draughtsman who created some sensitive portrait drawings executed in a very varied and
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Cossiers made a series of portrait studies of his family members. Each of the drawings is numbered in the top left and most identify the sitter by name and are dated 1658. The series is characterized by the intimate treatment and particularly lifelike effects. The surviving portraits only depict
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as a 'wijnmeester' (a master who is the son of a master of the guild). It is possible that for a short while he was connected to Rubens' workshop. Apparently Rubens had chosen
Cossiers to accompany him to Madrid in 1628 but Cossiers' parents had opposed the idea. In 1630 Cossiers married Joanna
205:. He also was a portrait painter to the rich bourgeoisie. On 26 July of that year he married his second wife Maria van der Willigen. The couple had 11 children. He was elected a number of times as a 'consultor' of the 'Sodaliteit der getrouwden', a fraternity for married men established by the
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Cossiers started out as a painter of
Caravaggesque genre scenes. He later became involved in the execution of religious and mythological compositions that were part of the large commissions of the Rubens workshop in the 1630s. After the death of Rubens he became one of the leading painters of
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His works of the 1630s and 1640s were very colourful, which can be attributed to Rubens' influence. In his later works his palette became more subdued and his brushwork was applied more freely. His compositions in this late period emphasize the pathos of the figures through their exaggerated
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was auctioned at
Sotheby's on 3 December 2014, New York, lot 31. It shows the prodigal son while feasting and drinking in a tavern, unaware that his pocket is being picked. In the background the son is shown being expelled from the inn after completely squandering his inheritance.
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288:). It depicts a man in very elegant costume who is read his fortune by a gipsy woman. The man does not realise that his pocket is being picked by a young man. The light falls on the man creating a dramatic effect. Cossiers created many versions of this subject.
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Jan
Cossiers had received his training from leading portrait painters such as Cornelis de Vos and Abraham de Vries. He had thus learned the necessary skills to cater to the demand of the well-off bourgeoisie for individual and group portraits.
337:). During this period his work underwent the influence of the monumentality and palette of Rubens, whom he assisted on large commissions. After the death of Rubens he was able to fill the gap left by Rubens' enormous studio and supplied
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on a kitchen scene (dated 1639, private collection). Cossiers painted the portraits of van
Utrecht and his wife Constancia in a kitchen amidst an extensive still life with game, lobster, fish and vegetables painted by van Utrecht.
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408:(Auctioned at Christie's on 19 April 2007, New York, lot 226) Jan Cossiers was able to portray the sitter's self-assured and dignified nature through details such as the sitter's left hand, which is resting securely at his waist.
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463:(Sold at Bonhams on 5 July 2006, London, lot 46), which are likely portraits of Adriaen Brouwer as well as representations of the sense of taste. The paintings are believed to be part of a series on the five senses.
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In the 1630s
Cossiers became connected to Rubens and commenced to paint history subjects. Examples are the mythological scenes he painted after designs by Rubens for the Torre de la Parada such as the
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in a tavern, merry companies, smokers, drinkers, card players, backgammon players, fortune tellers, etc. Some of these works revisited the theme of the five senses popular in
Flemish genre art.
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As was common in
Antwerp’s art world at the time, Cossiers collaborated with other specialist artists, for whom he painted the figures. A garland portrait of Huygens by Cossiers and
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Jan Cossiers also painted a number of genre portraits that represent the five senses. These portraits can at the same time be regarded as tronies. Examples are the portraits of
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In the 1630s Cossiers was able to obtain a number of large commissions thanks to the intervention of Rubens. He assisted Rubens in 1635 in the decorations for the
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effects with dramatic lighting by a single light source so as to create dramatic effect and depth. An example of a work painted during this early period is the
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380:(Auctioned at Sotheby's 9 July 2011, New York, lot 39), which has the freedom of the brushwork and the subdued coloring of Cossiers' later period.
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and history paintings. There was a clear evolution in Cossiers' career, which was not unlike that of some of his Antwerp contemporaries such as
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Katlijne Van der Stighelen and Arnout Balis. "Vos, de (i)." Grove Art Online. Oxford Art Online. Oxford University Press. Web. 20 February 2015
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198:. After the death of Rubens in 1640 he was recognized as one of the leading history painters in Flanders and he received many commissions for
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on 15 July 1600. He received his first training from his father and then moved to the studio of the prominent portrait and history painter
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Jan Cossiers returned to Antwerp in 1627. In the period between 18 September 1628 and 18 September 1629 he was admitted to the Antwerp
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Rubens: A Genius at Work : the Works of Peter Paul Rubens in the Royal Museums of Fine Arts of Belgium Reconsidered
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Cossiers was a very accomplished draughtsman, which is shown by a number of portraits of children, including his own.
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Adriaen van Utrecht and Jan Cossiers, 'Kitchen still life with the portraits of Adriaen en Constancia van Utrecht'
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Hans Vlieghe. "Cossiers, Jan." Grove Art Online. Oxford Art Online. Oxford University Press. Web. 20 February 2015
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His portraits are characterised by their sensitive likenesses, psychological insight and casual elegance. In the
419:, i.e. head or facial studies, which investigate varieties of expression. Brouwer painted a tavern scene called
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the artist's sons and not his five daughters. These portraits are executed in a very varied and fluid manner.
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Jan Cossiers did not entirely abandon the low life themes in this later stage of his career as shown by a late
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Joost vander Auwera, Michel Draguet, Peter Paul Rubens, Arnout Balis, Sabine van Sprang, Michèle Van Kalck,
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Jan Cossiers was the son of Antoon, a watercolor painter, and Maria van Cleef. He was baptized in the
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van 1453-1615, edited and published by Ph. Rombouts and Th. van Lerius, Antwerp, 1872-1876, p. 665
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A young man (the painter Adriaen Brouwer?) holding a jug, from a series depicting the five senses
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Hoe schilder hoe wilder: Dissolute Self-Portraiture in Seventeenth-Century Dutch and Flemish Art
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He had many pupils including Jan Carel van Bremt, Grée Melsen, Jacques (Jacob) de Langhe,
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Another subject, which Cossiers reprised multiple times is that of the prodigal son. One
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Alternative spellings of name: Jan Caussiers, Jan Coetsiers, Jan Cotsiers, Jan Coutsiers
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95:. He visited Rome where he is recorded in October 1624. In Rome he likely saw work of
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altarpieces to the many churches in Catholic Flanders as well as to the open market.
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Recently discovered signature of Jan Cossiers ends debate on authorship in the Prado
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Jan Cossiers was a versatile artist who worked in various genres such as portraits,
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and Johan Geerlof as is shown by the group portrait by Simon de Vos referred to as
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The Collector's Cabinet: Flemish Paintings from New England Private Collections
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Portrait of a man holding a violin and a medallion with a miniature of a woman
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in France in 1623, where he stayed with and studied under the Dutch painter
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De liggeren en andere historische archieven der Antwerpsche sint Lucasgilde
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Jan Cossiers' early works were depictions of 'low-life' themes such as the
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in Antwerp. He became the dean of the local Guild of Saint Luke in 1640.
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De groote schouburgh der Nederlantsche konstschilders en schilderessen
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Portrait of a gentleman, half-length, in a black coat and lace collar
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Jan Cossiers moved in the circle of the famous Flemish genre painter
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depicting low life scenes. Later in his career he painted mostly
457:(Sold at Hampel (München), 2011-03-25 - 2011-03-26, lot 207) and
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emotional expressions and lively gestures. An example is
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Cossiers enjoyed the patronage of the governors of the
38:, 15 July 1600 – Antwerp, 4 July 1671) was a Flemish
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Portrait of a gentleman, said to be Adriaen Brouwer
551:, Detroit Institute of Arts Wayne State, pp. 25–26
533:European Drawings 4: Catalogue of the Collections
549:Flemish and German Paintings of the 17th Century
274:These early works use the typical Caravaggesque
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216:(who may be identical to Jacques de Langhe),
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357:(1655–6) in the Church of the Beguines in
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620:Gathering of Smokers and Drinkers
351:Royal Museum of Fine Arts Antwerp
114:Gathering of Smokers and Drinkers
46:. Cossiers' earliest works were
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638:, Lannoo Uitgeverij, 2007, p. 45
690:The Parable of the Prodigal Son
101:Nicolas-Claude Fabri de Peiresc
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220:and Franciscus van Verbist.
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180:Parable of the Prodigal Son
16:Flemish painter (1600–1671)
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347:The Flagellation of Christ
192:Cardinal-Infante Ferdinand
148:Cardinal-Infante Ferdinand
864:Flemish portrait painters
259:altarpieces in Flanders.
859:Flemish history painters
849:Flemish Baroque painters
320:Prometheus carrying fire
405:Portrait of a gentleman
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427:Jan Lievens
422:The Smokers
276:chiaroscuro
203:altarpieces
168:Paul de Vos
51:genre works
44:draughtsman
843:Categories
568:(in Dutch)
97:Caravaggio
384:Portraits
325:Narcissus
296:Ecce Homo
82:Narcissus
483:Drawings
438:taste).
359:Mechelen
190:such as
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586:at the
417:tronies
229:General
146:of the
55:history
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36:Antwerp
160:Madrid
495:Notes
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158:near
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