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Baudouin, Frans,: 'Een
Antwerps schilder uit Rubens' omgeving: Philip Fruytiers, de monogrammist PHF', Jaarboek Koninklijk Museum voor Schone kunsten (1967), pp. 151–85 en Baudouin, Frans, 'Nog een toeschrijving aan Philip Fruytiers', Bulletin Koninklijke Musea voor Schone Kunsten van België, 17,
172:, the only known works by his hand until the 1960s were works on paper or vellum. As a result, the established view about the nature of his work was not challenged. In the 1960s this view had to be revised, however, when three large paintings of saints dated 1652 with the monogram "PHF" (in the
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De
Liggeren en andere Historische Archieven der Antwerpsche Sint Lucasgilde, onder Zinkspreuk: "Wy Jonsten Versaemt" afgeschreven en bemerkt door Ph. Rombouts en Th. Van Lerius, Advokaet, onder de bescherming van den raed van bestuer der koninklyke Akademie van beeldende Kunsten, van gezegde
140:). This miniature is probably the portrait listed in the inventory of the estate of Rubens in 1641 and on which at that time the price of the frame and glass was still outstanding. Fruytiers also painted large portraits like that of
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signed and dated 1638 (Cambi auction in Genoa of 30 June 2020 lot 114) shows a family in an outdoor setting with an artist drawing in a sketchbook. This may be a self-portrait of
Fruytiers. His most famous miniature depicts
176:), which were previously attributed to a hypothetical painter PH Franck, were identified as being by the hand of Fruytiers. The same signature was subsequently discovered on another altarpiece in the parish church in
53:. Since then, several large canvases signed with the monogram PHF have been ascribed to him. These new findings have led to a renewed appreciation for his contribution to the Antwerp Baroque.
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184:, which had been purchased from the inventory of the dissolved Antwerp St Michael's Abbey in 1802. This led to the attribution to Fruytiers of other paintings in collections of the
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Between
September 1630 and 18 October 1665 he was very active in the 'Sodaliteit van de Bejaerde Jongmans', a fraternity for bachelors established by the Jesuit order.
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Philip
Fruytiers was until the middle of the 20th century mainly known as a miniature painter and portraitist who worked in watercolor and gouache. A portrait of a
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The accepted view of Philip
Fruytiers as principally a miniaturist and watercolorist was based partially on the descriptions in the early biographical works by
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267:. He made designs for the frontispiece and illustrations for devotional books and other religious prints by Antwerp engravers such as
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college in
Antwerp in 1627. He contributed texts in Latin, French and Dutch to an emblem book published in 1627 by that college at the
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in the guild year 1631–32. He is described in the register of the Guild as an illuminator, painter and engraver.
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Typus mundi in quo ejus calamitates et pericula nec non divini, humanique amoris antipathia, emblematice proponuntur
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on 10 January 1610 as the son of Jan
Fruytiers and Catherina Vervloet. He is listed as a pupil at the
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Fruytiers was an accomplished engraver and produced several portrait etchings such as those of the
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Imago primi saeculi
Societatis Iesu a Provincia Flandro-Belgica eiusdem Societatis repraesentata
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Imago primi sæcvli
Societatis Iesv a provincia Flandro-Belgica eivsdem societatis representata
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No information about his artistic training is available. He became a master of the Antwerp
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and Conraad Lauwers. One of his outstanding designs of a frontispiece is that for the
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Grove Art Online. Oxford Art Online. Oxford University Press. Web. 24 September 2020
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at the Plantin Moretus press in Antwerp in 1640. The design which was engraved by
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Fruytiers' style is generally much closer to the refinement and delicacy of
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and group or family portraits such as that of the three children of Rubens.
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Innocentius de Caltagirone and the Flemish mathematician and astronomer
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portrait drawing of the Jesuit Jan de Tollenaere (Johannes Tollenarius)
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De groote schouburgh der Nederlantsche konstschilders en schilderessen
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Alternative spellings of his name: Philip Fruijtiers, Philip Fruitiers
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Although Cornelis de Bie mentioned that Fruytiers also painted
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He died in Antwerp on 19 June 1666 and was buried on 21 June.
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in: Cornelis de Bie, ‘'Het Gulden Cabinet'’, 1661, p. 389
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The four children of Rubens and Helena Fourment with maids
212:. Drawings for some of his altarpieces are kept in the
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Four children of Rubens and Helena Fourment with maids
77:. The illustrations of this publication were made by
61:Details about his life are scarce. He was born in
18:(1610–1666) Flemish Baroque painter and engraver
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241:than to the more monumental art of Rubens.
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73:imprint in Antwerp under the title
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361:Ph. Rombouts and Th. van Lerius,
194:Royal Museum of Fine Arts Antwerp
174:Royal Museum of Fine Arts Antwerp
128:' four children, his second wife
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132:and two servants date 1638 (
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218:Yale University Art Gallery
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447:Philip Fruytiers Biography
269:Cornelis Galle the Younger
222:Kupferstichkabinett Berlin
536:Flemish portrait painters
419:Portrait of David Teniers
142:David Teniers the Younger
541:Flemish history painters
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407:in the Royal Collection
546:17th-century engravers
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556:Artists from Antwerp
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121:Family on a Terrace
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417:Philip Fruytiers,
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170:altarpieces
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297:References
453:], 1718
261:Capuchin
220:and the
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190:Brussels
47:engraver
389:at the
178:Zundert
63:Antwerp
51:gouache
43:painter
40:Baroque
37:Flemish
206:Gistel
202:Madrid
192:, the
126:Rubens
67:Jesuit
364:Stad
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57:Life
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