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233:(Disaster Year) of 1672, which was marked by a large-scale invasion of the Dutch Republic by French and other armies, likely also played a role. Maes must have counted on his fashionable portrait paintings to attract the patronage of Amsterdam's larger population of prosperous burghers. His calculation was correct as Maes was so much in demand as a portraitist in Amsterdam that sitters considered it a favour to be given the chance to have the artist paint their portrait. The great number of portraits dating to the 1670s and 1680s are evidence of his success as a society portraitist. His pupils in Dordrecht included his stepson
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Dutch
Republic in the previous decade. From this time onwards, Maes employed staging and accessories often seen in Flemish portraiture. In the 1670s Maes' style further developed to reflect the lighter spirit of the times as he places his sitters in elegant gardens painted in light tones and with a free brushstroke. These later portraits emphasize the gestures and poses, as well as the clothes and hairstyles of the models. The stylistic evolution of his portraits shows the influence of developments in Flemish and French portraiture.
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who would be leaning against a prop such as a column, fountain or rock. The setting was often a terrace or garden against a sunset sky. He also created many group portraits of families or just children shown at full length amidst a landscape. During the 1670s and early 1680s he painted several portraits of children in the guise of mythological figures such as
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Maes created some works showing everyday events occurring on the doorstep of a private house such as milkmaids ringing the doorbell or receiving payment or boys asking for alms. Maes was able to bestow on these mundane transactions a solemn dignity. Another theme treated by Maes in the mid-1650s are
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Maes painted hundreds of portraits during his mature period. These were mostly executed in two standardised formats: the first used a small rectangular canvas to depict a half-length figure within a painted oval in a while the second used on a larger format to depict a three-quarter-length figure,
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In his earlier portraits Maes places his sitters who are typically dressed and presented in an austere manner against a dark background. Maes' mature style was formed during the 1660s and shows the influence of the
Flemish style of portraiture created by van Dyck, which had been introduced into the
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for 20 years. In the latter part of his career he returned to
Amsterdam where he became the leading portrait painter of his time. Maes contributed to the development of genre painting in the Netherlands and was the most prominent portrait painter working in Amsterdam in the final three decades of
168:'s studio. He remained in the studio of Rembrandt for about five years. He had returned to Dordrecht by December 1653. Here he is recorded making marriage arrangements as he posted on 28 December 1653 the bans of his marriage with Adriana Brouwers, the widow of the preacher Arnoldus de Gelder.
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Maes' major contribution in the depiction of interior space was to treat domestic interiors not as shallow, three-walled boxes but as suites of rooms. These innovations in the structuring of interior space were likely inspired by the new story element he introduced in genre painting. These
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derived from
Rembrandt. Between 1654 and 1658, he created a large number of pictures of spinners, lace makers and mothers with children that express the contemporary moralistic view of the value of family life and quiet diligence. An example is
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344:. By showing Hagar's despondency and Ishmael's isolated posture the work is one of the most moving renderings of this theme, popular with Rembrandt's pupils. Most of Maes' religious compositions are of cabinet size except for the
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428:, 10-19 about working hard and stretching the hand to the poor and the needy. Maes has thus transformed a simple domestic scene into an evocation of the exercise of dignity and moral uprightness in a true biblical sense.
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Maes moved to
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1653, Russell collection, Amsterdam). Maes' biblical compositions were clearly indebted to his master
Rembrandt's models but show at the same time that he was capable of interpreting the
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in particular in the compositional arrangements of people in interior spaces. Maes' exterior genre scenes may also have been influential on de Hooch's courtyard views.
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His paintings of domestic interiors showing women engaged in household tasks are endowed with a solemn dignity through the play of light and shadow and the limited
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Despite his long-term residency in
Amsterdam starting from 1673, Maes never became a citizen of Amsterdam. He waited until 1688 to register with the Amsterdam
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Also spelt
Nicolaes Maas, Nicolas Maes, Nikolas Maes, Nicolas Maas, Nicolaes Maas, Nicolaas Maas, Nicolaas Maes, Nicholaes Maes, Nicholas Maes
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Pastoral family portrait of four children, personifying mythological figures, including
Ganymede, and Diana with a deer, all in a landscape
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In his early years as an independent artist in the early 1650s Maes painted a few biblical and mythological scenes. These include the
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A signed and dated picture of 1653 shows that the artist had established himself as an independent artist by that year.
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He initially trained with a mediocre painter in his hometown. Around 1648, he went to
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as the second son of Gerrit Maes, a prosperous cloth merchant and soap boiler, and Ida Herman Claesdr.
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During this early period Maes showed himself to be among the most inventive genre painters in the
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to domestic scenes that were the favourite subject matter of Dutch genre artists of his time.
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van Suchtelen, Ariane; Cornelis, Bart; Schapelhouman, Marijn; Cahill, Nina (2019).
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1011:. In The Leiden Collection Catalogue. Edited by Arthur K. Wheelock Jr. New York
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124:(January 1634 – December 1693 (buried 24 December 1693)) was a
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in the final years of his life. His wife Adriana Brouwers was buried in the
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on 14 March 1690. On 24 December 1693, he was buried alongside his wife.
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inventions had an important influence on Delft genre painters including
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Portrait of a young nobleman with two dogs in a wooded landscape
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350:(National Gallery, London) which depicts life-size figures.
1129:. Dan Haag; London: Mauritshuis; National Gallery Company.
1080:, exhibition catalog from The Metropolitan Museum, p. 345
306:(possibly 1653, National Gallery of Ireland, Dublin) and
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in Amsterdam, he returned to work in his native city of
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precedents in an original manner. For instance, in the
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where he studied the work of Flemish artists such as
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In the middle or end of the 1650s, Maes traveled to
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863:Portrait of Margaretha de Geer, Wife of Jacob Trip
636:Four children as Ceres, Ganymede, Cherub and Diana
608:- Oil on panel, 46,3 x 72,2 cm, Private collection
514:- Oil on canvas, 113 x 89.4 cm, Private collection
956:at the Museo Nacional Thyssen-Bornemisza, Madrid
107:genre scenes, portraits, religious compositions
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486:Six Governors of the Amsterdam Surgeons' Guild
375:A young boy receiving alms from an elderly man
208:, in which he reached the rank of lieutenant.
1127:Nicolaes Maes: Dutch Master of the Golden Age
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510:Portrait of Laurence Hyde, Earl of Rochester
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796:- Oil on canvas, 134 x 113 cm,
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872:- Oil on canvas, 88 x 68 cm,
850:- Oil on canvas, 88 x 68 cm,
814:- Oil on canvas, 66 x 54 cm,
603:Eavesdropper with a Scolding Woman
489:(1680–81, Rijksmuseum Amsterdam).
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1047:at the Metropolitan Museum of Art
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436:symbols or dozing over a Bible.
290:Biblical and mythological scenes
758:Museumslandschaft Hessen Kassel
685:- Oil on canvas, 135 x 105 cm,
543:- Oil on canvas, 150 x 112 cm,
525:- Oil on canvas, 216 x 174 cm,
1044:Dismissal of Hagar and Ishmael
590:- Oil on canvas, 109 x 92 cm,
561:-Oil on canvas, 206 x 154 cm,
325:Dismissal of Hagar and Ishmael
268:Dismissal of Hagar and Ishmael
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832:- Oil on canvas, 92 x 122 c,
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703:- Oil on canvas, 90 x 72 cm,
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885:Portrait of Simon van Alphen
556:Christ Blessing the Children
380:Montreal Museum of Fine Arts
347:Christ Blessing the Children
308:Woman of Samaria at the Well
619:- Oil on wood, 70 x 53 cm,
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776:Philadelphia Museum of Art
722:Museum voor Schone Kunsten
669:National Gallery of Canada
651:Metropolitan Museum of Art
332:, New York) Maes portrays
330:Metropolitan Museum of Art
227:Bartholomeus van der Helst
157:Nicolaes Maes was born in
72:December 1693 (aged 58-59)
1183:Dutch Golden Age painters
538:Portrait of Four Children
336:banishing the handmaiden
176:Two chattering housewives
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16:Dutch painter (1634–1693)
585:Portrait of Justus Criex
1203:Painters from Dordrecht
1198:Dutch portrait painters
239:Margaretha van Godewijk
841:Portrait of Jacob Trip
816:Saint Louis Art Museum
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340:along with their son,
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1193:Dutch genre painters
1159:at Wikimedia Commons
520:Christ Before Pilate
303:Vertumnus and Pomona
279:Oude Kerk, Amsterdam
1208:Pupils of Rembrandt
1188:Dutch male painters
874:Museum of Fine Arts
852:Museum of Fine Arts
787:Old Woman at Prayer
716:Portrait of a Woman
698:Portrait of a Woman
592:Museum of Fine Arts
527:Museum of Fine Arts
273:Maes suffered from
254:Guild of Saint Luke
149:the 17th century.
1097:Wallace Collection
1092:The virtuous woman
987:at Sphinx Fine Art
914:Blanton Art Museum
912:- Oil on canvas,
809:Doing the Accounts
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247:Johannes Vollevens
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1155:Media related to
1059:The Spanish gypsy
953:Portrait of a man
834:Dordrechts Museum
774:- Oil on canvas,
756:- Oil on canvas,
649:- Oil on canvas,
462:Portrait painting
190:Peter Paul Rubens
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1178:1693 deaths
1173:1634 births
896:Rijksmuseum
820:Saint Louis
798:Rijksmuseum
740:Rijksmuseum
426:Proverbs 31
388:chiaroscuro
206:civic guard
84:Nationality
1167:Categories
1031:(in Dutch)
420:1655, the
138:still life
900:Amsterdam
802:Amsterdam
744:Amsterdam
577:(1662) -
384:Jan Steen
166:Rembrandt
159:Dordrecht
146:Dordrecht
142:Rembrandt
134:portraits
98:Rembrandt
94:Education
76:Amsterdam
58:Dordrecht
878:Budapest
856:Budapest
691:Brussels
655:New York
596:Budapest
531:Budapest
473:Ganymede
378:, 1656,
318:and the
231:Rampjaar
202:guilders
1095:at the
1026:at the
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434:vanitas
342:Ishmael
334:Abraham
328:(1653,
258:burgher
186:Antwerp
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625:London
567:London
549:Bruges
477:Apollo
245:, and
112:Spouse
924:Notes
726:Ghent
709:Arras
481:Diana
338:Hagar
316:Bible
285:Works
126:Dutch
88:Dutch
1131:ISBN
479:and
454:and
275:gout
225:and
196:and
153:Life
69:Died
51:Born
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992:^
961:^
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