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Here are all the paintings of Nicolas Maes 01
| ID |
Painting |
Oil Pantings, Sorted from A to Z |
Painting Description |
| 43200 |
 |
A Woman Scraping Parsnips,with a Child Standing by Her |
mk170
1655
Oil on oak
35.6x29.8cm
|
| 2658 |
 |
A Woman Spinning |
1655
Rijksmuseum, Amsterdam |
| 20444 |
 |
Boys Bathing (mk05) |
Canvas 28 1/2 x 36 1/4''((73 x 92 cm)Received in 1914) |
| 67322 |
 |
flickan i fonstret |
se |
| 80117 |
 |
Gemahlin des Jacob Trip |
ca. 1660(1660)
Medium color on canvas
Dimensions 88 x 68 cm
cyf |
| 43201 |
 |
Interior with a Sleeping Maid and Her Mistress |
mk170
1655
Oil on oak
70x53.3cm
|
| 50264 |
 |
Old Woman in Prayer |
mk210
c.1650-1660
Canvas
132x111cm
|
| 82673 |
 |
Portrait of a woman |
Date 1667
cyf |
| 64283 |
 |
standard-bearer of the civil guard |
1615
the hague
gemeentemuseum |
| 2659 |
 |
The Lacemaker |
1650's
Metropolitan Museum of Art, New York |
| 24285 |
 |
The Listening Housewife (mk25 |
1655 |
| 87311 |
 |
Woman Plucking a Duck |
1655-56
Medium Oil on canvas
cyf |
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| Nicolas Maes
|
| 1634-1693
Dutch Nicolas Maes Galleries
Nicolaes Maes, also known as Nicolaes Maas (January 1634, Dordrecht - buried November 24, 1693, Amsterdam) was a Dutch Baroque painter of genre and portraits.
Maes was the son of Gerrit Maes, a prosperous merchant, and Ida Herman Claesdr. In about 1648 he went to Amsterdam, where he entered Rembrandt's studio. Before his return to Dordrecht in 1653 Maes painted a few Rembrandtesque genre pictures, with life-size figures and in a deep glowing scheme of colour, like the Reverie at the Rijksmuseum in Amsterdam, the Card Players at the National Gallery, and the Children with a Goat Carriage. So closely did his early style resemble that of Rembrandt, that the last-named picture, and other canvases in the Leipzig and Budapest galleries and in the collection of Lord Radnor, were or are still ascribed to Rembrandt.
In his best period, from 1655 to 1665, Maes devoted himself to domestic genre on a smaller scale, retaining to a great extent the magic of colour he had learnt from Rembrandt. Only on rare occasions did he treat scriptural subjects, as in Hagar's Departure, which has been ascribed to Rembrandt. His favorite subjects were women spinning, or reading the Bible, or preparing a meal.
While he continued to reside in Dordrecht until 1673, when he settled in Amsterdam, he visited or even lived in Antwerp between 1665 and 1667. His Antwerp period coincides with a complete change in style and subject. He devoted himself almost exclusively to portraiture, and abandoned the intimacy and glowing color harmonies of his earlier work for a careless elegance which suggests the influence of Van Dyck. So great indeed was the change, that it gave rise to the theory of the existence of another Maes, of Brussels.
Maes is well represented at the London National Gallery by five paintings: The Cradle, The Dutch Housewife, The Idle Servant, The Card Players, and a man's portrait. At Amsterdam, besides the splendid examples to be found at the Rijksmuseum, is the Inquisitive Servant of the Six collection. At Buckingham Palace is The Listening Girl (repetitions exist), and at Apsley House Selling Milk and The Listener. Other notable examples are at the Berlin, Brussels, St Petersburg, the Hague, Frankfort, Hanover and Munich galleries.
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