Category:16th-century Flemish painters
Pages in category "16th-century Flemish painters"
The following 16 pages are in this category, out of 16 total. This list may not reflect recent changes (learn more).
The following 16 pages are in this category, out of 16 total. This list may not reflect recent changes (learn more).
1. Hieronymus Bosch – Hieronymus Bosch was an Early Netherlandish painter. His work is known for illustrations of religious concepts and narratives. Within his lifetime his work was collected in Spain, widely copied, especially his macabre and nightmarish depictions of hell. Little is known of Bosch's life, though there are some records. He spent most of it in the town of's-Hertogenbosch, where he was born in his grandfather's house. The roots of his forefathers are in Nijmegen and Aachen. His fantastical style cast a wide influence with Pieter Bruegel the Elder being his best known follower. He is seen into humanity's desires and deepest fears. Attribution has been especially difficult; about 25 paintings are confidently given to his hand along with 8 drawings. Approximately another half dozen paintings are confidently attributed to his workshop. His most acclaimed works consist of a few triptych altarpieces, the most outstanding of, The Garden of Earthly Delights. Hieronymus Bosch was born Jheronimus van Aken. He signed a number of his paintings as Jheronimus Bosch. The name derives from his birthplace,'s-Hertogenbosch, commonly called "Den Bosch". Little is known of Bosch's life or training.Hieronymus Bosch – Attributed to Jacques Le Boucq, Portrait of Hieronymus Bosch. c. 1550
2. Pieter Bruegel the Elder – Pieter Bruegel the Elder was a Netherlandish Renaissance painter and printmaker from Brabant, known for his landscapes and peasant scenes. He is sometimes referred to as the "Peasant Bruegel". From 1559, he dropped the'h' from his name and signed his paintings as Bruegel. Two early sources for Bruegel's biography are Lodovico Guicciardini's account of the Low Countries and Karel van Mander's 1604 Schilder-boeck. Guicciardini recorded that Bruegel was born in Breda, but van Mander specified Bruegel was born in a "village near Breda", i.e. the town of Breugel. From the fact that Bruegel entered the Antwerp painters' guild in 1551, it is inferred that he was born between 1525 and 1530. His master, according to van Mander, was the Antwerp painter Pieter Coecke van Aelst, whose daughter Maria Bruegel married in 1563. So he was between 1545 and 1550 a pupil of Pieter Coecke. Pieter Coecke died on 6 December 1550. In 1551 Bruegel became a free master in the Guild of Saint Luke of Antwerp. In 1552 Bruegel was assigned to paint the rear of two wings of a triptych in Mechelen; the middle panel was painted by Pieter Balten. Bruegel got this work probably via the connections of Mayken Verhulst, the widow of Pieter Coecke. Mayken's father and eight siblings were all artists or married an artist and lived in Mechelen. Between 1552 and 1553 Bruegel traveled to Italy, probably by way of France. He visited Rome, where he met the miniaturist Giulio Clovio, whose will of 1578 lists three paintings by Bruegel.Pieter Bruegel the Elder – The Painter and The Connoisseur, c. 1565 is thought to be Bruegel's self-portrait.
3. Jan Brueghel the Elder – Jan Brueghel the Elder was a Flemish painter and draughtsman. He was the son of the eminent Flemish Renaissance painter Pieter Brueghel the Elder. A close friend of, regular collaborator with, Rubens, the two artists were the leading Flemish painters in the first three decades of the 17th century. He further created genre paintings that were reworkings of his father's works, in particular his father's genre landscapes with peasants. He was court painter of the Archduke and Duchess Albrecht and Isabella, the governors of the Southern Netherlands. The artist was nicknamed "Velvet" Brueghel, "Flower" Brueghel, "Paradise" Brueghel. The first is believed to have been given him because of his mastery in the rendering of fabrics. These paintings have now been reattributed to Jan Brueghel the Elder. The Elder was born as Maria Coecke van Aelst. His mother was the daughter of prominent Flemish Renaissance artist Pieter Coecke van Aelst and Mayken Verhulst. His father died about a year after Jan's birth in 1569. Mayken Verhulst was an artist in her own right. The early Flemish biographer Karel van Mander wrote in his Schilder-boeck published in 1604 that Mayken was the first art teacher of her two grandsons. She taught them drawing and watercolor painting of miniatures. Jan and his brother may also have trained with local artists in Brussels who were active as tapestry designers.Jan Brueghel the Elder – Family of Jan Breughel the Elder, c. 1612-13, by Peter Paul Rubens, depicts Brueghel, his wife Catharina van Mariënburg and their eldest surviving children: Elisabeth (b. 1609) and Pieter (b. 1608).
4. Pieter Brueghel the Younger – The large output of his studio, which produced for the local and export market, contributed to the international spread of his father's imagery. These paintings have now been attributed to his brother Jan Brueghel the Elder. The Younger was born in Mayken Coecke van Aelst. His father died in 1569, when Pieter the younger was only five years old. Mayken Verhulst was the widow of the prolific artist Pieter Coecke van Aelst and an accomplished artist in her own right, known for her miniature paintings. According to the early 17th-century Flemish biographer Karel van Mander Mayken Verhulst was possibly the first teacher of her two grandsons. The Brueghel family moved to Antwerp sometime after 1578 and Pieter possibly entered the studio of the landscape painter Gillis van Coninxloo. His teacher left Antwerp in 1585 and in the 1584/1585 registers of the Guild of Saint Luke, "Peeter Brugel" is listed as an independent master. On 5 November 1588 Pieter married Elisabeth Goddelet. The couple had seven children, many of whom died young. One son called Pieter Brueghel III was also a painter. Pieter Brueghel the Younger operated a large studio in Antwerp which produced mainly inexpensive copies of his father's work for local sale and export. He was nevertheless often in financial difficulties, possibly due to drinking. He had at least 9 pupils including Frans Snyders and Andries Daniels. He died in Antwerp, aged 72.Pieter Brueghel the Younger – Anthony van Dyck: Portrait of Pieter Brueghel the Younger
5. Joannes Corvus – Joannes Corvus, or Johannes Corvus, was a Flemish portrait painter, active in the 16th century. The old frame was destroyed. This picture, after being restored extensively, was in the possession of the Des Vœux family, subsequently in the Dent collection. In this portrait there is a groundwork of gold showing through the colour of the dress, painted over it. Duke of Suffolk, in the same collection, has for similar reasons been ascribed to Corvus. Attribution This article incorporates text from a publication now in the public domain: Cust, Lionel Henry. "Corvus, Joannes". In Stephen, Leslie. Dictionary of National Biography. 12. London: Smith, Elder & Co. Media related to Joannes Corvus at Wikimedia CommonsJoannes Corvus – Richard Foxe
6. Hieronimo Custodis – Hieronimo Custodis was a Flemish portrait painter active in England in the reign of Elizabeth I. He is thought to have arrived in England to the forces of the Duke of Parma in 1585. Three English portraits by Custodis dated 1589 firmly establish him as resident in London by that year. In 1591, he was living in the parish of St Bodolph-without-Aldgate where "Jacobus the son of Ieronyme Custodis A Paynter" was baptised on 2 March. He is assumed to have died in 1593, as all of his known works are dated his widow remarried that year. Custodis's dated works are idenitified by "palaeographical peculiarities" in the inscriptions which can be closely matched to those in his signed portraits. Hearn, Karen, ed. Dynasties: Painting in Tudor and Jacobean England 1530-1630. New York: Rizzoli, 1995. ISBN 0-8478-1940-X Strong, Roy. The English Icon: Elizabethan and Jacobean Portraiture, 1969, Routledge & Kegan Paul, London Strong, Roy. “Elizabethan Painting: An Approach Through Inscriptions. 1: Robert Peake the Elder." The Burlington Magazine 105: 53–57. Reprinted in Strong 1969. Weiss Gallery.Hieronimo Custodis – Signed and dated portrait of Elizabeth Brydges, aged 14, daughter of Giles Brydges, 3rd Baron Chandos and maid of honour to Elizabeth I, 1589.
7. Hans Eworth – Hans Eworth was a Flemish painter active in England in the mid-16th century. Along with exiled Flemings, he made a career in Tudor London, painting allegorical images as well as portraits of the gentry and nobility. About 40 paintings are now attributed to Eworth, among them portraits of Mary I and Elizabeth I. Eworth also executed decorative commissions for Elizabeth's Office of the Revels in the early 1570s. Nothing is known of training. As "Jan Euworts", he is recorded in 1540. By 1545 Eworth was resident in London, where he is well recorded from 1549. Eworth's earliest surviving works also date from 1549 to 1550. The painting was in "badly damaged" condition when it was donated to the Institute, although it has subsequently been restored. Although there is no direct evidence that Eworth's most important patron was the Catholic queen Mary I, most scholars now accept this to be the case. Now in the Society of Antiquaries collection, is also signed and dated 1554. Two other portraits are thought to have been painted between 1555 and Mary's death in 1558. Another is in the collection of Cambridge. Despite the frequent appearance of a characteristic "HE" monogram, the attribution of works to Eworth—and the identification of his sitters—remains in flux. Eworth's last known works date from 1570-3.Hans Eworth – Mary I by Hans Eworth, 1554
8. Master of James IV of Scotland – The Master of James IV of Scotland was a Flemish manuscript illuminator and painter most likely based in Ghent, or perhaps Bruges. Circumstantial evidence, including larger panel paintings, indicates that he may be identical with Gerard Horenbout. He was the leading illuminator of the penultimate generation of Flemish illuminators. Stylistically, the Master's miniatures are distinguished by their collections of unidealized figures, set against colorful landscapes and detailed interiors. Most importantly, the Master was interested in experimenting on the page. The Master's work is sometimes associated with the work of the Master of the Lübeck Bible. On large projects he often collaborated with other masters. Gerard Horenbout was court painter, from 1515 to Margaret of Austria, Regent of the Netherlands. Susanna, also an illuminator, is recorded as married to a John Palmer and in England.Master of James IV of Scotland – Tree of Jesse by the Master
10. Master of the Female Half-Lengths – The Master of the Female Half-Lengths was a painter, or likely a group of painters of a workshop, active in the sixteenth century. The works were apparently the product of a large workshop that specialized in small-scale panels depicting young ladies at half-length. Some of the women are represented with the attribute of Mary Magdalene. There is the place and period of his activity. The French court have been proposed for the location of his workshop. Estimates for his period of activity vary to the late 16th century. Generally, it is believed the master was active in the 16th century. Certain similarities between that of the Bruges artists Ambrosius Benson and Adriaen Isenbrant have also been observed.Master of the Female Half-Lengths – Isabel of Portugal at the Museu Nacional de Arte Antiga
11. Quentin Matsys – Quentin Matsys was a painter in the Flemish tradition and a founder of the Antwerp school. He was born at Leuven, where legend states 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. Little contemporary accounts exist of the nature of his activities or character. According to J. Molanus' Historiae Lovaniensium Matsys is known to be a native of Leuven with humble beginnings as an ironsmith. One of Matsys was born to 10 September 1466. During the period in which Matsys was active in Antwerp he took only four apprentices: Arian van Overbeke, Hennen Boeckmakere. It is widely believed that Joachim Patinir studied with Matsys at some point during his career and contributed to several of his landscapes. During the greater part of the 15th century, the centres in which the painters of the Low Countries most congregated were Tournai, Bruges, Ghent and Brussels. 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, Mechelen and Leuven. As a member of Antwerp's Guild of Saint Luke, Matsys is considered to be one of its first notable artists. Matsys departed from Leuven in 1491 when he became a master in the guild of painters at Antwerp. He also painted religious altarpieces and triptych panels, the most famous of, built for the Church of Saint Peter in Leuven. 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.Quentin Matsys – Quentin Matsys, engraved by Joachim von Sandrart for his Teutsche Akademie.
12. Peter Paul Rubens – Sir Peter Paul Rubens was a Flemish Baroque painter. Rubens was a prolific artist. The catalogue of his works by Michael Jaffé lists 1,403 pieces, excluding numerous copies made in his workshop. His commissioned works were mostly "history paintings", which included religious and mythological subjects, hunt scenes. Rubens in later life painted several landscapes. He designed prints, well as his own house. He also oversaw the ephemeral decorations of the royal entry into Antwerp by the Cardinal-Infante Ferdinand in 1635. His drawings are mostly extremely forceful but not overly detailed. He also made great use of oil sketches as preparatory studies. For altarpieces he sometimes painted on slate to reduce reflection problems. He was born to Maria Pypelincks. Following Jan Rubens' imprisonment for the affair, Peter Paul Rubens was born in 1577. The family returned to Cologne the next year. In 1589, two years after his father's death, Rubens moved with his mother Maria Pypelincks to Antwerp, where he was raised as a Catholic. Religion figured prominently in much of his work and Rubens later became one of the leading voices of the Catholic Counter-Reformation style of painting.Peter Paul Rubens – Self-portrait, 1623, Royal Collection
13. Michael Sittow – For most of his life, Sittow worked as a court portrait painter, for Isabella of Castille, the Habsburgs and others in Spain and the Netherlands. He was one of the most important Flemish painters of the era. Michael Sittow was born to a wealthy family. His mother was Margarethe Molner. He was the eldest of three brothers, followed by Clawes and Jasper. He became a citizen in 1457. Clawes was a wealthy man for an artist, owning several houses in the city. He became an assessor in 1479. Clawes van der Sittow married Margarethe Molner in 1468. She was the daughter of a wealthy merchant Olef Mölner. At first Michel Sittow studied sculpture in his father's workshop, while attending the city school to learn Latin, arithmetic and singing. After his father's death in 1482, Michel continued his studies from 1484 to 1488. It is thought that he worked in the leading Netherlandish workshop of Hans Memling. Michel Sittow became an independent master between 1488 – 1491/92, although he did not become a master in the local Bruges guild. Working as a painter, he travelled in southern Europe, as traits of French and Italian art became apparent in his work.Michael Sittow – Diego de Guevara by Sittow, ca. 1517