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Jan
Massijs is sometimes regarded as one of the pioneers in Netherlandish art of certain secular subjects such as 'unequal love' (depicting a couple of widely different ages) and 'merry companies'. In these paintings temptation and purchased love always seem to play the main role. Other subjects he
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It is possible to distinguish three periods in the work of Jan Massys. During the first period before his exile of 1544, he collaborated with and worked in the style of his father. He also completed some works left unfinished at the time of his father's death. The first dated painting from this
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After his return to
Antwerp Jan reached the height of his artistic powers. He developed a distinct style and treated a number of subjects that became characteristic for his work. Remarkable is the important role that the female nude and eroticism play in his work. He frequently used
102:. He returned to Antwerp before the end of 1555 when the ban imposed on him was ended. He was then involved in a number of court cases with his brothers and sisters over the distribution of inheritances.
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He had been sufficiently rehabilitated for the local city council to commission several works from him. These works were destroyed in 1576 when
Spanish troops set the city hall on fire during the
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In 1544 Jan and his brother
Cornelis were banned from Antwerp because of their religious beliefs. It is possible that Jan went to Fontainebleau and Germany. It is certain that he spent time in
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as an excuse to depict the female nude. The sensuality of these figures is reminiscent of the works of the School of
Fontainebleau. The principal male characters he depicted were Tobias and
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pioneered were the money changer, tax collector and the miser, although others see his father as the creator of this genre. These works are considered to have carried a moralizing purpose.
164:. It remains unclear whether Jan Massijs actually went to Fontainebleau or underwent this influence in an indirect manner. During his stay in Italy he painted a portrait of
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From the second period, which coincides with his banishment from
Antwerp from 1544 to 1555, only 9 works can be traced. These works seem to show the influence of the
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76:, who became a painter and engraver. He trained under his father. He was admitted, together with his brother Cornelis, as a master in the Antwerp
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391:, Publisher: Zwolle (Nederland) : Waanders uitg., cop. 1995. Dissertation History of Art, Katholieke Universiteit Nijmegen, 1995
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Jan
Massijs also painted a number of landscapes but his work in this genre is not as significant as that of his brother Cornelis.
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in 1531, a year after their father's death. It is assumed that he left
Antwerp immediately thereafter and worked for a while in
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in 1589. Jan's daughter Susan emigrated to Italy. It is assumed that Jan's children left
Antwerp for religious reasons.
52:. He also gained a reputation as a painter of the female nude, which he painted with a sensuality reminiscent of the
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113:. Jan Massijs had died the year before, in Antwerp, having been reduced to a state bordering on poverty. His son
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Alternative spellings of family name: Massys, Matsijs, Messijs, Messys, Metsijs, Metsys
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316:, in: Ons Erfdeel. Jaargang 39. Stichting Ons Erfdeel, Rekkem/Raamsdonksveer 1996
275:. Grove Art Online. Oxford Art Online. Oxford University Press. Web. 26 May. 2017
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His known pupils are Frans van Tuylt (in 1536), Frans de Witte (in 1543) and
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had become a master of the Guild of St. Luke in 1574 and died in
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Jan Massys : een
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of 1537, which is completely in his father's style.
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314:Lauran Toorians, Eerherstel voor Jan Massys
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72:and the older brother of
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269:Jane Campbell Hutchison
162:School of Fontainebleau
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362:St. Jerome in his cell
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421:Categories
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218:References
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50:landscapes
34:Jan Matsys
197:Bathsheba
119:Frankfurt
365:Archived
339:Archived
145:, 1559,
109:and the
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193:Susanna
115:Quentin
66:Antwerp
38:Flemish
189:Judith
178:, 1566
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142:Flora
100:Genoa
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