Flemish Northern Renaissance Painter, ca.1465-1530,Flemish painter. After studying in Louvain, he moved to Antwerp by 1491, remaining in that city throughout his life. Influences of Italian art, especially of Leonardo da Vinci, may be seen in his work, particularly in the delicate modeling, the subtle nuances of tone, and in the adoption of Leonardo's grotesque head studies for such pictures as The Old Man (Jacquemart-Andre Mus., Paris) and Ugly Duchess (National Gall., London). Massys sought inspiration also in works of earlier Flemish artists, especially of Jan van Eyck. The combined Flemish and Italian influences aided Massys in evolving a calm and measured style, with solid figures and soft textures. He developed a type of portraiture in which the sitter was placed against an appropriate background, as in his painting of St. Erasmus surrounded by books and papers (National Gall., Rome). There are religious subjects and portraits by Massys in the museums of Munich, Brussels, Antwerp, Chicago, and Philadelphia. Quentin's son, Jan Massys, c.1509?C1575, painted satirical and later more elegant works under French influence. Judith (Mus. of Fine Arts, Boston) is characteristic. Another son, Cornelis Massys, d. after 1560, was a landscape painter and engraver.   Related Paintings of Quentin Matsys :. | Christ on the Cross with Donors | St Christopher | Virgin and Child | St Anne Altarpiece | The Lamentation |
Related Artists:
Adriaen van de Velde
(bapt. 30 November 1636, Amsterdam - bur. 21 January 1672, Amsterdam), was a Dutch animal and landscape painter, son of Willem van de Velde the Elder and brother of Willem van de Velde the Younger, the marine painter. Adriaen did not want to become a marine painter so he was trained in the studio of Jan Wynants, the landscape painter. There he made the acquaintance of Philip Wouwerman, who is believed to have aided him in his studies of animals, and to have exercised a powerful and beneficial influence upon his art. Having made exceptionally rapid progress, he was soon employed by his master to introduce figures into his landscape compositions, and he rendered a similar service to Hobbema, Ruysdael, Verboom and other contemporary artists. According to Houbraken, he died while in collaboration with Jan van der Heyden and Frederik de Moucheron, painting animals on their paintings.[1] His favourite subjects were scenes of open pasture land, with sheep, cattle and goats, which he executed with dexterity, with much precision of touch and truth of draughtsmanship, and with clear silvery colouring. He painted a few small winter scenes with skaters, and several religious subjects, such as the Descent from the Cross, for a Roman Catholic hidden church in Amsterdam. In addition to his paintings, of which nearly two hundred have been catalogued, he executed about twenty etchings, several of which appear from their dates to have been done in his fourteenth year. They are distinguished by directness of method and by delicacy and certainty of touch. Van de Velde lived in Kalverstraat, near the Regulierspoort.
Franz Thomas Low
Lived in 18th centry.
Giacomo Cestaro
painted A female Saint holding a plate of roses in