Misplaced Pages

#124875

62-664: Matsys is the surname of a family of Flemish painters: Quentin Matsys (1466–1530) Cornelis Massijs (1508– c.  1556 ), son of Quentin Matsys Jan Matsys ( c.  1510 –1575), son of Quentin Matsys Quentin Metsys the Younger ( c.  1543 –1589), son of Jan Matsys [REDACTED] Surname list This page lists people with

124-497: A goldsmithing background and stayed in that guild. As that link weakened with the development of printmaking, some painters' guilds accepted engravers or etchers who did not paint as Members, and others did not. In London painters on glass had their own separate guild with the glaziers; elsewhere they would be accepted by the painters. The rules of the Delft guild have been much puzzled over by art historians seeking to illuminate

186-450: A brief period. 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 Bible : he being decapitated, she allegedly buried alive in the square before the church. In 1629 the first centennial of Matsys' death

248-638: A confraternity dedicated to St. Paul ( Compagnia di San Paolo ), also joined. This form of the compagnia developed into the Florentine Accademia del Disegno in 1563, which was then formally incorporated into the city's guild system in 1572. The Florence example, in fact, eventually acted more like a traditional guild structure than the Accademia di San Luca in Rome . Founded by Federico Zuccari in 1593, Rome's Accademia reflects more clearly

310-492: A dispute to the Guild complaining that one of her three apprentices had left her workshop after only a few days, and had been accepted into Hals' shop, in breach of Guild rules. The Guild had the power to fine members, and after discovering that the apprentice had not been registered with them, fined both artists, and made a ruling on the apprentice's position. All guild local monopolies came under general economic disapproval from

372-756: A eulogy in Latin verse, is but one of many, to which one may add the portrait of Maximilian of Austria in the gallery in Amsterdam. In this branch of his practice, Matsys was greatly influenced by his fellow countryman Jan Mabuse . Matsys' portraiture exhibits highly personal and individual emotional characteristics that reflect his adherence to realism as a technique. In comparison to other Northern Renaissance artists such as Holbein and Dürer , 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

434-476: A large portion of the artist's training during the 16th century. 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

496-514: A master, was therefore required for an artist to take on apprentices or to sell paintings to the public. Similar rules existed in Delft , where only members could sell paintings in the city or have a shop. The early guilds in Antwerp and Bruges , setting a model that would be followed in other cities, even had their own showroom or market stall from which members could sell their paintings directly to

558-475: A new painters' guild, leaving the guild of Saint Luke with only the sculptors and woodcarvers. A similar move in The Hague in 1656 led to the painters leaving the Guild of Saint Luke to establish a new Confrerie Pictura with all other kinds of visual artists, leaving the guild to the house-painters. Artists in other cities were not successful in setting up their own guilds of St. Luke, and remained part of

620-443: A sort of leatherworker. Perhaps because of this link, for a period they had a rule that all miniatures needed a tiny mark to identify the artist, which was registered with the Guild. Only under special privileges, such as court artist, could an artist effectively practice their craft without holding membership in the guild. Peter Paul Rubens had a similar situation in the seventeenth century, when he obtained special permission from

682-531: A specific "Guild of St. Luke". On the other hand, these distinctions did not take effect at that time in Amsterdam or Haarlem. In the Haarlem Guild of St. Luke , however, a strict hierarchy was attempted in 1631 with panel painters at the top, though this hierarchy was eventually rejected. In the Utrecht guild, also founded in 1611, the break was with the saddlemakers, but in 1644 a further split created

SECTION 10

#1732772473125

744-405: A specific city, while in different cities they were wholly independent and often competitive against each other. Although it did not become a major artistic center until the sixteenth century, Antwerp was one of the first cities, if not the first, to found a guild of Saint Luke. It is first mentioned in 1382, and was given special privileges by the city in 1442. The registers, or Liggeren , from

806-471: A workshop. In most cities the women who were important members of workshops making illuminated manuscripts were excluded from the Guild or from being masters; however not in Antwerp, where Caterina van Hemessen and others were members. As the Christian title of the Guild suggested, Jews were excluded, at least from becoming masters, in most cities. When printmaking arrived, many engravers were from

868-416: A year or two before they reached the next stage, which often involved a payment to the Guild, and was to become a " free Master ". After this the artist could sell his own works, set up his own workshop with apprentices of his own, and also sell the work of other artists. Anthony van Dyck achieved this at eighteen, but in the twenties would be more typical. In some places the maximum number of apprentices

930-483: 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 Carel van Mander 's Schilderboeck (1604) stating that Matsys studied under no artist. Although the roots of Matsys' training are unknown, his style reflects the artistic qualities of Dirk Bouts , who brought to Leuven

992-466: Is different from Wikidata All set index articles Quentin Matsys 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' Historiae Lovaniensium , Matsys was known to be a native of Leuven with humble beginnings as an ironsmith. One of four children, Massys

1054-551: Is generally associated with the modern conception of the visual arts as a liberal rather than mechanical art, and occurred in cities across Europe. In Antwerp David Teniers the Younger was both a dean of the Guild and founded the Academy , while in Venice Pittoni and Tiepolo led a breakaway Accademia from the old Fraglia dei Pittori as the local guild was known. The new academies began to offer training in drawing and

1116-644: Is widely believed that Joachim Patinir studied with Matsys at some point during his career and contributed to several of his landscapes (such as The Temptation of St. Anthony 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

1178-603: The Violieren , and, in fact, the two were often discussed as being the same. By the mid-sixteenth century, when Pieter Bruegel the Elder was active in the city, most of the members of the Violieren , including Frans Floris , Cornelis Floris , and Hieronymus Cock , were artists. The relationship between the two organizations, one for professionals practicing a trade and the other a literary and dramatist group, continued into

1240-475: The Confrerie Pictura . By that time it was clear to all involved that the one-stop-shop concept of a guild was past its prime, and to ensure high quality and high prices, the education of artists needed to be separated from sales venues. Many towns set up academy style schools for education, while sales could be generated from arranged viewings at local inns, estate sales, or open markets. In Antwerp

1302-409: The surname Matsys . If an internal link intending to refer to a specific person led you to this page, you may wish to change that link by adding the person's given name (s) to the link. Retrieved from " https://en.wikipedia.org/w/index.php?title=Matsys&oldid=1025784292 " Category : Surnames Hidden categories: Articles with short description Short description

SECTION 20

#1732772473125

1364-536: The "modern" notions of an artistic academy rather than perpetuating what has often been seen as the medieval nature of the guild system. Gradually other cities were to follow the example of Rome and the Carracci in Bologna , with leading painters founding an "Academy", not always initially in direct competition with the local Guilds, but tending to eclipse and supplant it in time. This shift in artistic representation

1426-619: The 17th century onwards; in the particular case of painters there was in many places a tension between the Guilds and artists imported as court painter by a ruler. When Anthony van Dyck was finally enticed to come to England by King Charles I, he was provided with a house at Blackfriars , then just outside the boundary of the City of London to avoid the monopoly of the London guild. The Hague with its Catholic court, split itself in two in 1656 with

1488-753: The Archdukes Albert and Isabella to be both court artist in Brussels and an active member of the Guild of Saint Luke in Antwerp. Membership also allowed members to sell works at the guild-owned showroom. Antwerp, for example, opened a market stall for selling paintings in front of the cathedral in 1460, and Bruges followed in 1482. Guilds of St. Luke in the Dutch Republic began to reinvent themselves as cities there changed over to Protestant rule, and there were dramatic movements in population. Many St. Luke guilds reissued charters to protect

1550-602: The Habsburg Governors eventually removed the Guild's monopoly, and by the end of the 18th century hardly any guild monopolies survived, even before Napoleon disbanded all guilds in territories he controlled. Guilds survived as societies or charitable organisations, or merged with the newer " Academies " – as happened in Antwerp, but not in London or Paris. Guild monopoly had a brief 20th century revival in Eastern Europe under Communism , where non-members of

1612-681: The People (1518–1520) (Prado), and A Grotesque Old Woman (or The Ugly Duchess ), which is perhaps the best-known of his works. It served as a basis for John Tenniel 's depiction of the Duchess in Alice's Adventures in Wonderland . It is likely a depiction of a real person with Paget's disease , though it is sometimes said to be a metaphorical portrait of the Margaret, Countess of Tyrol , who

1674-578: The Tudor court , and painted the Sieve Portrait of Elizabeth I of England . 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. 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

1736-526: The Virgin and Child at Berlin and Amsterdam , where the ecstatic kiss of the mother seems rather awkward. An expression of acute despair may be seen in a Lucretia in the museum at Vienna . The remarkable glow of the colour in these works, however, makes the Mannerist exaggerations palatable. Matsys had considerable skill as a portrait painter. His Ægidius (Peter Gilles) which drew from Thomas More

1798-454: The art but did not seek to expand upon his father's legacy. The earliest of his works, a St Jerome dated 1537, in the gallery of Vienna, as well as the latest, a Healing of Tobias of 1564, in the museum of Antwerp, are evidence of his tendency to substitute imitation for originality. Another son, Cornelis Matsys , was also a painter. Jan's son, Quentin Metsys the Younger , was an artist of

1860-549: The career of Peter Paul Rubens ). A penny serial by the British author Pierce Egan the Younger entitled Quintin Matsys was published in 1839. Guild of Saint Luke The Guild of Saint Luke was the most common name for a city guild for painters and other artists in early modern Europe , especially in the Low Countries . They were named in honor of the Evangelist Luke , the patron saint of artists, who

1922-601: The carnival celebrations. 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 art historians believe to be Adriaen van Overbeke (master in 1508), Willem Muelenbroec (registered in 1501), Eduart Portugalois (registered in 1504, master in 1506), and Hennen Boeckmakere (registered in 1510). It

Matsys - Misplaced Pages Continue

1984-524: 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 ( Firedlander ) pointing as the date of making the frames years prior to 1511. His Christ as the Man of Sorrows is in the J. Paul Getty Museum in Los Angeles. Quentin's son, Jan Matsys , inherited

2046-489: The early stages of painting to students, and artistic theory, including the hierarchy of genres , increased in importance. The late sixteenth-century elevation of artist's status that occurred in Italy was echoed in the Low Countries by increased participation by artists in literary and humanistic societies. The Antwerp Guild of St. Luke, in particular, was closely associated with one of the city's eminent chambers of rhetoric ,

2108-462: The existing guild structure (or lack thereof). For example, an attempt was made in Leiden to set up a guild in 1610 specifically for painters to protect themselves against the sale of art from foreigners, especially those from areas of Brabant and the area around Antwerp . However, the town, which traditionally resisted guilds in general, only offered to help them from illegal imports. Not until 1648

2170-424: 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. Most of the emphasis in his works lies not upon atmosphere, which is in fact given very little attention, but to

2232-412: The guild exist, cataloging when artists became masters, who the dean for each year was, what their specialities were, and the names of any students. In Bruges, however, which was the dominant city for artistic production in the Low Countries in the fifteenth century, the earliest known list of guild members dates to 1453, although the guild was certainly older than this. There all artists had to belong to

2294-498: The guild in order to practice in their own names or to sell their works, and the guild was very strict about which artistic activities could be practiced–distinctly forbidding an artisan to work in an area where another guild's members, such as tapestry weaving, were represented. The Bruges guild, in a typically idiosyncratic medieval arrangement, also included the saddlemakers, probably because most members were painting illuminated manuscripts on vellum , and were therefore grouped as

2356-436: The guild like Antwerp's Romanists , for whom travel to Italy and appreciation of classical and humanist culture were essential. Guild rules varied greatly. In common with the Guilds for other trades, there would be an initial apprenticeship of at least three, more often five years. Typically, the apprentice would then qualify as a " journeyman ", free to work for any Guild member. Some artists began to sign and date paintings

2418-592: The influence of Hans Memling and Rogier Van der Weyden . When Matsys settled at Antwerp at the age of twenty-five, his own style contributed importantly to reviving Flemish art along the lines of Van Eyck and Van der Weyden. Matsys departed from Leuven in 1491 when he became a master in the guild of painters at Antwerp. His most well known satirical works include A Portrait of an Elderly Man (1513), and The Money Changer and His Wife (1514), all of which provide commentary on human feeling and society in general. He also painted religious altarpieces and triptych panels,

2480-414: The interests of local painters from the influx of southern talent from places like Antwerp and Bruges. Many cities in the young republic became more important artistic centres in the late sixteenth and early seventeenth centuries. Amsterdam was the first city to reissue a St. Luke's charter after the reformation in 1579, and it included painters, sculptors, engravers, and other trades dealing specifically in

2542-495: The lead which it afterward maintained against Bruges, Ghent, Brussels, Mechelen 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 apprentice. As a member of Antwerp's Guild of Saint Luke , Matsys

Matsys - Misplaced Pages Continue

2604-433: 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 of individual character. A satirical tendency may be seen in the pictures of merchant bankers ( Louvre and Windsor ), revealing their greed and avarice. His other impulse, dwelling on the feelings of tenderness, may be noted in two replicas of

2666-719: The majority of his works. Matsys also painted part of the altarpiece of the Convento da Madre de Deus , in Lisbon . The altar is a primitive invocation of the Seven Sorrows of Mary , with boards still evocative of "Our Lady of Sorrows" , "Jesus among the Doctors" , "on the path to Calvary" , "Calvary" , "Lamentation" (all at the Museu Nacional de Arte Antiga ) and "Flight into Egypt" ( Worcester Art Museum ). Since

2728-526: The most famous of which was 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. Matsys' firmness of outline, clear modelling and thorough finish of detail stem from Van Der Weyden's influence; from the Van Eycks and Memling by way of Dirck Bouts,

2790-473: The official artist's union or guild found it very hard to work as painters – for example the Czech Josef Váchal . In many cities the Guild of Saint Luke financed a chapel that was decorated with an altarpiece of their patron saint. Rogier van der Weyden's Saint Luke Drawing the Virgin , c. 1435-1440 ( Museum of Fine Arts, Boston ), one of the earliest-known paintings, set up a tradition that

2852-484: The other hand, as an immigrant to Delft, had to pay twelve guilders in 1655, which he could not afford to pay all at once. Another aspect of the Guild rules is illustrated by the dispute between Frans Hals and Judith Leyster in Haarlem. Leyster was the second woman in Haarlem to join the Guild, and probably trained with Hals – she was a witness at the baptism of his daughter. Some years later, in 1635, she brought

2914-418: The public. The guild of Saint Luke not only represented painters, sculptors, and other visual artists, but also—especially in the seventeenth century—dealers, amateurs, and even art lovers (the so-called liefhebbers ). In the medieval period most members in most places were probably manuscript illuminators , where these were in the same guild as painters on wood and cloth—in many cities they were joined with

2976-530: The same. In Renaissance Florence the Guild of St. Luke, per se , did not exist. Painters belonged to the guild of the Doctors and Apothecaries ("Arte dei Medici e Speziali") as they bought their pigments from the apothecaries, while sculptors were members of the Masters of Stone and Wood ("Maestri di Pietra e Legname). They were also frequently members in the confraternity of St. Luke ( Compagnia di San Luca )—which had been founded as early as 1349—although it

3038-499: The scribes or "scriveners". In traditional guild structures, house-painters and decorators were often in the same guild. However, as artists formed under their own specific guild of St. Luke, particularly in the Netherlands, distinctions were increasingly made. In general, guilds also made judgments on disputes between artists and other artists or their clients. In such ways, it controlled the economic career of an artist working in

3100-637: The seventeenth century until the two groups formally merged in 1663 when the Antwerp Academy was founded a century after its Roman counterpart. Similar relationships between the Guild of St. Luke and chambers of rhetoric appear to have existed in Dutch cities in the seventeenth century. Haarlem's "Liefde boven al" ("Love above all") is a prime example, to which Frans Hals , Esaias van de Velde , and Adriaen Brouwer all belonged. These activities also manifested themselves in groups that developed outside of

3162-438: The undocumented training of Vermeer . When he joined the Guild there in 1653, he must have received six years training, according to the local rules. In addition, he had to pay a six guilders admission fee, despite the fact that his father was a Guild member (as an art dealer), which would normally have meant only a three guilder fee. This appears to mean that his training had not been received in Delft itself. Pieter de Hooch on

SECTION 50

#1732772473125

3224-710: The visual arts. When trade between the Spanish Netherlands and the Dutch Republic resumed with the Twelve Years' Truce in 1609, immigration increased and many Dutch cities reissued guild charters as a form of protection against the great number of paintings that began to cross the border. For example, Gouda , Rotterdam , and Delft , all founded guilds between 1609 and 1611. In each of those cases, panel painters removed themselves from their traditional guild structure that included other painters, such as those who worked in fresco and on houses, in favor of

3286-490: The works of his maturity. It is believed that he had known the work of Leonardo da Vinci in the form of prints made and circulated among northern artists (his Madonna and Child with the Lamb , inspired by The Virgin and Child with St. Anne , 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

3348-417: Was a loosely organized "quasi-guild" permitted in that city. The Guilds of the small but wealthy seat of government The Hague and its near neighbour, Delft, were constantly battling to stop the other's artists encroaching into their city, often without success. By the later part of the century a kind of balance was achieved, with The Hague's portraitists supplying both cities, whilst Delft's genre painters did

3410-658: Was a separate entity from the guild system. There were similar confraternal organizations in other parts of Italy, such as Rome. By the 16th century a guild had even been established in Candia in Crete , then a Venetian possession, by the very successful Greek artists of the Cretan School . In the sixteenth century, the Compagnia di San Luca began to meet at SS. Annunziata , and sculptors, who had previously been members of

3472-412: 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, who found painting to be a more romantic profession, though Karel van Mander 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

3534-444: Was deliberate and not an act of ignorance. He most likely met Holbein more than once on his way to England, and Dürer is believed to have visited his house at Antwerp in 1520. Matsys also became the guardian of Joachim Patinir 's children after the death of that painter. His Virgin and Christ , Ecce Homo and Mater Dolorosa (London and Antwerp) are known for their serene and dignified mastery, gaining in delicacy and nuance in

3596-524: Was followed by many subsequent artists. Jan Gossaert's work in the Kunsthistorisches Museum, Vienna (illustrated, top right) revisits Van der Weyden's composition while presenting the scene as a visionary experience instead of a directly witnessed portrait sitting. Later, Frans Floris (1556), Marten de Vos (1602) and Otto van Veen all represented the subject for the guild in Antwerp, and Abraham Janssens painted an altarpiece for

3658-531: Was identified by John of Damascus as having painted the Virgin's portrait. One of the most famous such organizations was founded in Antwerp . It continued to function until 1795, although by then it had lost its monopoly and therefore most of its power. In most cities, including Antwerp, the local government had given the Guild the power to regulate defined types of trade within the city. Guild membership, as

3720-502: Was known as Maultasch , which, though literally translated "satchel mouth", was used to mean "ugly woman" or "whore" (because of her marital scandals). His two large triptych altarpieces The Holy Kinship or Saint Anne Altarpiece (1507–1509) and The Entombment of the Lord (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

3782-433: Was marked by a ceremony and erection of a relief plaque with an accompanying inscription on the facade of Antwerp Cathedral . Benefactor Cornelius van der Geest 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. Matsys' works include A Portrait of an Elderly Man (1513), Christ presented to

SECTION 60

#1732772473125

3844-491: Was specified (as for example two), especially in the earlier periods, and alternatively a minimum of one might be specified. In Nuremberg painting, unlike say goldsmithing, was a "free trade" without a Guild and regulated directly by the city council; this was intended to encourage growth in a city where much art was becoming linked with book publishing , for which Nuremberg was the largest German centre. Nonetheless, there were rules and for example only married men could operate

#124875