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446:, Matsys shies away from refined and subtle detailing. Because there are numerous connections between him and these masters, however, it can be concluded that his departure in techniques was deliberate and not an act of ignorance. He most likely met Holbein more than once on his way to England, and DĂĽrer is believed to have visited his house at Antwerp in 1520. Matsys also became the guardian of
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Eycks and
Memling by way of Dirck Bouts, the glowing richness of transparent pigments. Matsys' works generally reflect earnestness in expression, minutely detailed renderings, and subdued effects in light and shade. Like most Flemish artists of the time he paid a great deal of attention to jewelry, edging of garments, and ornamentation in general.
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Documented donations and possessions of Joost Matsys indicate that the family had a respectable income and that financial need was most likely not the reason Matsys turned to painting. During the period in which Matsys was active in
Antwerp he took only four apprentices: a certain Ariaen whom certain
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Most of the emphasis in his works lies not upon atmosphere, which is in fact given very little attention, but to the literalness of caricature: emphasizing the melancholy refinement of saints, the brutal gestures and grimaces of gaolers and executioners. Strenuous effort is devoted to the expression
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Matsys is known to be a native of Leuven with humble beginnings as an ironsmith. One of four children, Massys was born to Joost Matsys (d. 1483) and
Catherine van Kincken sometime between 4 April and 10 September 1466. Legend states that Matsys abandoned his career as a blacksmith to woo his wife,
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Matsys work is considered to contain strong religious feeling—characteristic of traditional
Flemish works—and is accompanied by a realism that often favored the grotesque. Matsys' firmness of outline, clear modelling and thorough finish of detail stem from Van Der Weyden's influence; from the Van
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at the Prado Museum in Madrid). Lack of guild records during this time leaves Matsys' travels to Italy and other parts of the Low
Countries as part of his training open to question. For the most part, foreign influences on Matsys are inferred from his paintings and are considered to be a large
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and Leuven. Because no guild records were kept prior to 1494 in Leuven there is no concrete proof that Matsys attained his master's status there; however, historians generally accept this to be the location of his early training because he had not been previously registered in
Antwerp as an
259:. Leuven gained prominence toward the close of this period, employing workmen from all of the crafts including Matsys. Not until the beginning of the 16th century did Antwerp take the lead which it afterward maintained against Bruges, Ghent, Brussels,
164:. There is a tradition alleging that he was trained as an ironsmith before becoming a painter. Matsys was active in Antwerp for over 20 years, creating numerous works with religious roots and satirical tendencies. He is regarded as the founder of the
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Matsys died at
Antwerp in 1530. He was a religious devotee, despite several of his relatives dying as a result of their faith. His sister Catherine and her husband suffered at Leuven in 1543 for what was then the capital offence of reading the
516:: he being decapitated, she allegedly buried alive in the square before the church. In 1629 the first centennial of Matsys' death was marked by a ceremony and erection of a relief plaque with an accompanying inscription on the facade of
661:). Since the convent was founded by D. Leonor, Queen Dowager of King John II of Portugal and sister of King Manuel of Portugal, in 1509, it appeared that the order of this set has been performed once, with some authors (
268:, Matsys is considered to be one of its first notable artists. Existing records of guild laws and regulations from the 16th century indicate that it is highly unlikely that Matsys was self-taught, despite accounts in
314:(1514), all of which provide commentary on human feeling and society in general. He also painted religious altarpieces and triptych panels, the most famous of which was built for the Church of Saint Peter in Leuven.
483:, reflects da Vinci's influences). This is largely regarded as proof that Matsys was greatly influenced by Italian Renaissance artists, and that he most likely travelled to Italy for at least a brief period.
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of painting, which became the leading school of painting in
Flanders in the 16th century. He introduced new techniques and motifs as well as moralising subjects without completely breaking with tradition.
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603:(1508–1511) are also highly celebrated. Commissioned for the Church of Saint Peter in Leuven, they reflect strong religious feeling and precise detailing characteristic to the majority of his works.
204:(master in 1508), Willem Muelenbroec (registered in 1501), Eduart Portugalois (registered in 1504, master in 1506), and Hennen Boeckmakere (registered in 1510). It is widely believed that
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is said to be responsible for the wording, stating: "in his time a smith and afterwards a famous painter", keeping in accordance with the legends surrounding Matsys' humble beginnings.
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Most early accounts of Matsys' life are composed primarily of legend and very little contemporary accounts exist of the nature of his activities or character. According to J. Molanus'
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469:(London and Antwerp) are known for their serene and dignified mastery, gaining in delicacy and nuance in the works of his maturity. It is believed that he had known the work of
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claimed this to be false, and the real reason was a sickness during which he was too weak to work at the smithy and instead decorated prints for the carnival celebrations.
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Matsys was a cult figure during the 17th century in
Antwerp in addition to being one of the founders of the local school of painting (which climaxed with the career of
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Near the front of the
Cathedral of Our Lady in Antwerp is a wrought-iron well, known as the "Matsys Well", which according to tradition was made by the painter-to-be.
591:, which, though literally translated "satchel mouth", was used to mean "ugly woman" or "whore" (because of her marital scandals). His two large triptych altarpieces
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of 1564, in the museum of Antwerp, are evidence of his tendency to substitute imitation for originality. Another son,
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in the gallery in Amsterdam. In this branch of his practice, Matsys was greatly influenced by his fellow countryman
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Silver, Larry. "The Paintings of Quinten Massys with Catalogue Raisonne". Rowman & Allanheld, 1984, p. 1-15.
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studied with Matsys at some point during his career and contributed to several of his landscapes (such as
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Although the roots of Matsys' training are unknown, his style reflects the artistic qualities of
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of individual character. A satirical tendency may be seen in the pictures of merchant bankers (
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and Van der Weyden. Matsys departed from Leuven in 1491 when he became a master in the
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898:. Vol. 17 (11th ed.). Cambridge University Press. pp. 890–891.
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955:"Christ presented to the People - The Collection - Museo Nacional del Prado"
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in the form of prints made and circulated among northern artists (his
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981:"Solved: mystery of The Ugly Duchess – and the Da Vinci connection"
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verse, is but one of many, to which one may add the portrait of
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dated 1537, in the gallery of Vienna, as well as the latest, a
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Altarpiece of the carpenters guild, Quinten Massijs, (1511),
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In comparison to other Northern Renaissance artists such as
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who found painting to be a more romantic profession, though
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portion of the artist's training during the 16th century.
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Matsys had considerable skill as a portrait painter. His
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at Antwerp. His most well known satirical works include
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345:The Virgin and Child Enthroned, with Four Angels
30:For his grandson, the Elizabethan painter, see
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625:. The altar is a primitive invocation of the
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1641:Master of the Amsterdam Death of the Virgin
1549:Master of the Legend of St. Ursula (Bruges)
156:) (1466–1530) was a Flemish painter in the
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264:apprentice. As a member of Antwerp's
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1722:Arts in the court of Philip the Good
1712:Works by Early Netherlandish masters
1554:Master of the Legend of the Magdalen
1043:. New York: Robert Appleton Company.
1539:Master of the Legend of St. Barbara
1240:(c. 1525–1530) (work by a follower)
779:His first name is also recorded as
1732:Members of the Guild of Saint Luke
1544:Master of the Legend of Saint Lucy
480:The Virgin and Child with St. Anne
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1534:Master of the Embroidered Foliage
1031:Herbermann, Charles, ed. (1913).
738:Royal Museum of Fine Arts Antwerp
692:, was also a painter. Jan's son,
629:, with boards still evocative of
117:Religious and satirical portraits
1584:Master of the View of Ste-Gudule
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576:Alice's Adventures in Wonderland
1646:Master of the Figdor Deposition
1574:Master of the Morrison Triptych
1529:Master of the Antwerp Adoration
573:'s depiction of the Duchess in
503:created a modern mosaic at the
475:Madonna and Child with the Lamb
1175:The Money Changer and His Wife
557:Christ presented to the People
323:The Money Changer and His Wife
311:The Money Changer and His Wife
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1631:Jacob Cornelisz van Oostsanen
1559:Master of the Lille Adoration
1151:Madonna and Child with Angels
651:Museu Nacional de Arte Antiga
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210:The Temptation of St. Anthony
200:art historians believe to be
1823:Early Netherlandish painters
1707:Early Netherlandish painting
1569:Master of the Mansi Magdalen
667:Christ as the Man of Sorrows
553:A Portrait of an Elderly Man
349:Oil on panel, 62.2 Ă— 43.2 cm
306:A Portrait of an Elderly Man
92:1530 (aged 63–64)
53:Quentin Matsys, engraved by
585:Margaret, Countess of Tyrol
507:based on this skull plaque.
27:Flemish painter (1466–1530)
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1579:Master of the Prodigal Son
1564:Master of the LĂĽbeck Bible
1244:Quentin Metsys the Younger
979:Brown, Mark (2008-10-11).
694:Quentin Metsys the Younger
601:The Entombment of the Lord
160:tradition. He was born in
32:Quentin Metsys the Younger
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1752:Netherlandish Renaissance
1218:Joiners' Guild Altarpiece
1199:Madonna and Child Kissing
929:. Prentice-Hall. p.
746:Joiners' Guild Altarpiece
698:artist of the Tudor court
635:"Jesus among the Doctors"
619:Convento da Madre de Deus
559:(1518-1520) (Prado), and
542:Oil on wood, 64 Ă— 45,5 cm
425:Temptation of St. Anthony
389:exaggerations palatable.
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1782:Nativity of Jesus in art
921:Lawrence Gowing (1983).
639:"on the path to Calvary"
328:Oil on panel, 71 Ă— 68 cm
1287:Early Netherlandish art
895:Encyclopædia Britannica
889:"Matsys, Quintin"
729:was published in 1839.
723:Pierce Egan the Younger
522:Cornelius van der Geest
1616:Geertgen tot Sint Jans
1474:Vrancke van der Stockt
1070:Art in the Netherlands
1034:"Quentin Massys"
831:in Karel van Mander's
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551:Matsys' works include
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179:Historiae Lovaniensium
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1777:Adoration of the Magi
1484:Rogier van der Weyden
1479:Goswin van der Weyden
1159:Lamentation of Christ
1040:Catholic Encyclopedia
819:at Flemish Primitives
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631:"Our Lady of Sorrows"
627:Seven Sorrows of Mary
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597:Saint Anne Altarpiece
562:A Grotesque Old Woman
538:A Grotesque Old Woman
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1747:Northern Renaissance
1742:International Gothic
1621:Jan Joest van Calcar
1596:Northern Netherlands
1593:Active mainly in the
1464:Aert van den Bossche
1309:Southern Netherlands
1306:Active mainly in the
1237:Ill-Matched Marriage
1093:at Wikimedia Commons
959:www.museodelprado.es
850:www.museodelprado.es
760:Ill-Matched Marriage
671:J. Paul Getty Museum
659:Worcester Art Museum
505:Museum aan de Stroom
202:Adriaen van Overbeke
59:Dominicus Lampsonius
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1772:Ghent-Bruges school
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1599:(mostly present-day
1359:Melchior Broederlam
1312:(mostly present-day
1296:Early Netherlandish
1091:Quinten Massijs (I)
655:"Flight into Egypt"
611:Portrait of a woman
587:, who was known as
266:Guild of Saint Luke
233:Calendar Clock Face
158:Early Netherlandish
1757:Northern Mannerism
1717:Flemish Primitives
1524:Master of Affligem
1424:Cornelis Liefrinck
1419:Adriaen Isenbrandt
1191:Ill-Matched Lovers
1054:"Quinten Massys".
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807:Nanny Schrijvers,
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1514:Bernard van Orley
1509:Lieven van Lathem
1469:Hugo van der Goes
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716:Peter Paul Rubens
686:Healing of Tobias
518:Antwerp Cathedral
497:Antwerp Cathedral
471:Leonardo da Vinci
455:Virgin and Christ
381:in the museum at
302:guild of painters
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16:(Redirected from
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647:"Lamentation"
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520:. Benefactor
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1659:Main centres
1499:Jan van Eyck
1459:Jan Provoost
1444:Hans Memling
1438:
1404:Jan Gossaert
1389:Jean Delemer
1384:Gerard David
1354:Dieric Bouts
1334:Simon Bening
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1127:
1072:"Chapter IV"
1069:
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1038:
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985:The Guardian
984:
974:
962:. Retrieved
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918:(in English)
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853:. Retrieved
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649:(all at the
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571:John Tenniel
566:
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495:Memorial on
478:
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429:Prado Museum
424:
400:a eulogy in
393:
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309:
308:(1513), and
305:
290:Hans Memling
283:
273:
238:
225:Detail of a
209:
198:
193:
178:
176:
145:
144:
127:
123:Notable work
1808:1530 deaths
1803:1466 births
1602:Netherlands
1394:Jan de Beer
1210:Altarpieces
964:25 December
855:25 December
663:Firedlander
501:Luc Tuymans
398:Thomas More
230: 1500
104:Nationality
1797:Categories
1246:(grandson)
767:References
678:Jan Matsys
669:is in the
416:Influences
410:Jan Mabuse
286:Dirk Bouts
173:Early life
1691:The Hague
1676:Brussels
1221:(c. 1511)
1170:(c. 1513)
1154:(c. 1509)
1146:(c. 1500)
1135:Paintings
987:. London.
749:, c. 1511
740:, 245-248
725:entitled
696:, was an
682:St Jerome
643:"Calvary"
589:Maultasch
460:Ecce Homo
387:Mannerist
373:Amsterdam
98:, Belgium
83:, Belgium
813:Archived
753:See also
555:(1513),
547:, London
378:Lucretia
354:, London
298:Van Eyck
261:Mechelen
257:Brussels
136:Movement
1700:General
1686:Tournai
1666:Antwerp
1315:Belgium
1298:artists
1229:Related
1025:Sources
785:Kwinten
781:Quinten
440:Holbein
365:Windsor
245:Tournai
108:Flemish
96:Antwerp
72: (
1671:Bruges
1178:(1514)
1162:(1511)
937:
793:Metsys
789:Massys
653:) and
623:Lisbon
613:, 1520
528:Legacy
433:Madrid
383:Vienna
369:Berlin
361:Louvre
347:(1513)
326:(1514)
249:Bruges
162:Leuven
81:Leuven
1681:Ghent
621:, in
514:Bible
487:Death
444:DĂĽrer
402:Latin
280:Style
253:Ghent
150:Dutch
57:with
966:2020
935:ISBN
857:2020
565:(or
463:and
453:His
442:and
371:and
363:and
292:and
255:and
89:Died
74:1466
70:1466
67:Born
931:672
791:or
783:or
718:).
704:of
595:or
272:'s
1799::
1037:.
1012:.
983:.
957:.
933:.
892:.
865:^
848:.
799:^
708:.
645:,
641:,
637:,
457:,
431:,
251:,
247:,
227:c.
152::
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1279:e
1272:t
1265:v
1120:e
1113:t
1106:v
1016:.
968:.
943:.
859:.
835:.
657:(
633:,
148:(
76:)
34:.
20:)
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