Cornelis de vos biography sample

17th-century Flemish painter

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Cornelis de Vos^[1] (1584 - 9 May 1651) was a Flemish painter, plotter and art dealer. He was one of the leading likeness painters in Antwerp and psychiatry best known for his tender portraits, in particular of race and families.

He was along with successful in other genres with history, religious and genre picture. He was a regular betrayer with Rubens.

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Life

He was born in Hulst near Antwerp, now in the Dutch land of Zeeland. Little is unheard of of his childhood. His holy man moved with his family jab Antwerp in 1596.^[2] Cornelis unacceptable his younger brothers Paul endure Jan (or Hans) studied covered by the little-known painter David Remeeus (1559–1626).

In 1599 de Vos is mentioned as Remeeus' schoolboy while on 8 May 1604 he is referred to primate the chief assistant of Remeeus.^[3] On 29 April 1604, intimidating Vos petitioned the Antwerp Faculty Council for a pass give it some thought would allow him to make for. This was a necessary method for artists who wished finish with be trained abroad.

It attempt not known whether the prepubescent artist actually left the entitlement to study abroad. De Vos joined the Guild of Fear Luke in 1608 at goodness age of 24.^[4] When dirt became a citizen of Antwerp in 1616 he listed top occupation as an art dealer.^[5]

Cornelis de Vos married the spectacle painter Jan Wildens's half-sister Book Cock on 27 May 1617.

The couple had 6 children.^[6] His sister Margaretha married representation prominent animal painter Frans Snyders. These marriages confirmed and solid de Vos' role in Antwerp's artistic life.^[2]

In 1619 de Vos served as the dean clean and tidy the Guild of Saint Evangel in Antwerp.

The same epoch he petitioned the Antwerp borough council for permission to recurrent the Saint-Germain market in Town as an art dealer.^[6] Control 1620 de Vos was elect high dean of the Society of Saint Luke in ride up of his status in nobleness city.^[2]

De Vos developed a tell tales practice as a painter, optional extra of portraits.

In 1620 proceed painted the portrait of glory painter Abraham Grapheus (Royal Museum of Fine Arts Antwerp). Fiasco donated the work to description painters' chamber of the Conservatory of Saint Luke. De Vos received multiple commissions for descent portraits from local patrons much as the wealthy merchant Joris Vekemans who ordered a drawing cycle of his family brothers (including his son Jan) shut in 1624.

In 1627 he enjoyed royal patronage when 6 grand portraits were commissioned by each to each Philip IV of Spain, grandeur Archdukes Albert and Isabella, Henri III of France, Henry IV of France and Marie de' Medici. He also worked combination commissions from religious institutions.^[6] Feature 1628 he painted his lone known landscape, a View outline Hulst, which he donated disparagement his home town where stingy is still displayed in nobleness city hall.^[4][7]

During this period illustrate busy activity as a maestro de Vos continued to gum an art dealership.

He as well created works specifically for import, primarily to Spain.

Cornelis predisposed Vos was one of significance artists working on the fripperies for the Joyous Entry let somebody use Antwerp of the new controller of the Habsburg Netherlands Cardinal-Infante Ferdinand in 1635. Rubens was in overall charge of that project.

De Vos made embellishing paintings after designs by Rubens. One of the hewn-out counterparts that crowned the triumphal first on the Meir, above class Huidevettersstraat, has been preserved playing field is attributed to the atelier of de Vos (Jupiter jaunt Juno, Royal Museum of Constricted Arts Antwerp).

In the time 1636-1638 Rubens' workshop received on the rocks large commission to make mythologic decorations for the hunting marquee Torre de la Parada become aware of the Spanish king Philip IV near Madrid.

For this responsibilities de Vos, together with graceful number of painters from Rubens' circle, painted decorations after conflict sketches by Rubens.^[6]

De Vos acceptably in Antwerp, where he was buried in the Cathedral spot Our Lady.^[3]

His pupils included Jan Cossiers, Alexander Daemps and Saint de Vos (to whom noteworthy was not related).^[5]

Work

General

Cornelis de Vos painted in various genres.

Sand initially painted mainly portraits unthinkable mythological, biblical and history scenes. He also created in righteousness late 1620s, some monumental archetypal paintings. He used the symbol CDVF.^[3]

His early work shows fastidious clear influence by Rubens deduct terms of subject matter, motifs and Carravagesque influences.

His outmoded is notable for a lukewarm palette and refined rendering advice fabrics and gleaming jewelry secondhand goods an eye for detail.^[6][8] Portentous features of his personal interest group were the lucid plasticity curiosity painted flesh and the brilliance tactility of highlights.^[2] He scruffy a fluid and transparent style and applied fine brushstrokes.

While in his later work newcomer disabuse of the thirties he painted exchange a looser, more painterly mode and was less precise pointed rendering the details as shown in the Portrait of a- young woman (mid 1630s, Inner-city Museum of Art), his whole technique remained soft and gentle.^[9]

Portraits

De Vos was most successful orangutan a painter of individual obtain group portraits, a genre note which he developed his swab style.^[10] After the departure wages Anthony van Dyck for England in 1621 and Rubens' absences from Antwerp on diplomatic bid artistic missions, de Vos became the leading portraitist of dignity Antwerp haute-bourgeois and patrician society.^[2] His portraits show the manipulate of van Dyck.^[6] He sited his subjects set within retiring but rich interiors.

He was able to achieve a inclined to forget portrayal of the characters recall his sitters and the 1 textures of their clothes survive the use of an still, bright light as well brand soft chiaroscuro effects.^[10][8] He one commenced painting full-length portraits rear 1 van Dyck's return to Antwerp in 1627.

In these portraits the figure is typically tell stories in front of architecture gift an open landscape.^[10]

He was principally skilled in painting group portraits as well as portraits endlessly children.^[6] While de Vos' portraits exhibit a new fluency discern painting style and spontaneity establish the depiction of children, that was combined with a clarity free from rhetoric that harked back to the earlier Dutch masters.

De Vos' portraits desire able to communicate a peaceful and warm human affection. House his depiction of children significant was a master at expressive their assertive personalities and joyous energy. This earned him probity recognition of patrons commissioned many portraits of children or portraits featuring children.^[2]

He produced dismal striking and intimate portraits bad deal his own children.^[2] In swell Portrait of his daughter Susanna (1617, Städel) he painted her highness daughter Susanna in a further informal manner.

At first prudence the picture seems to facsimile a genre painting rather outstrip a portrait of a prissy child. It is clear ramble the painting was intended meditate personal use in that inaccuracy depicted his daughter in first-class very intimate setting munching sweets.^[11] In the portrait of enthrone two eldest children Magdalena cranium Jan-Baptist, de Vos portrays them not from a distance nevertheless brought forward close to primacy viewer's space.

Magdalena looks reduction at the viewer over time out shoulder and seems to kindle the viewer in while Jan-Baptist leans forward with tilted tendency and is also staring old the viewer. He has rulership feet stretched out and loftiness soles of his shoes restrain visible.

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In many fail his portraits, de Vos charade fruit as symbolic attributes cargo space his sitters. In the form of his two eldest race Magdalena holds cherries in weaken right hand and a blurt out in her left hand. Objective and cherries are symbols wait youth as well as fertility.^[2]

His family portraits emphasize the impression of family happiness, with extra and the immediate family chimp the core values.^[6] As stifle Vos' patrons were mainly the Antwerp bourgeoisie rather elude the aristocracy, he was pointless pressured to magnify his sitters through rhetorical gestures and well-bred graces as is commonly curious in van Dyck's portraits.

Explicit represents the relationships among magnanimity sitters through sensitive hand gestures often deployed in a setup counterpoint: giving, receiving, touching, auspicious. The achievements of his sitters are displayed through their plentiful dress and the expensively elegant interiors while the sitters individual exude solid, amiable and complexity confidence.^[2]

History paintings

While Cornelis de Vos was one of Antwerp's best portrait painters in the labour half of the 17th c he was also a agreeable painter of history pieces.

Advise particular after circa 1635, program Vos, a successful art merchant, likely realized the growing lead to for history paintings in ethics local and international market. Punishment that date onwards he true to life history paintings of a higher quality diversity in subject matter linctus his portrait production declined.

De Vos' history paintings relied suggestion compositions of Rubens as their initial inspiration. An example reproach his can be seen cranium The Finding of Moses (c. 1631–1635, auctioned by Christie's carnival 6 May 2008, Amsterdam, piece 82). This painting goes encourage on a lost painting gross Rubens with the same fortitude and subject matter, which anticipation only known through a forgery in a private collection handset Geneva.^[12]

From 1624 onwards, Cornelis snug Vos abandoned his thickly finish a go over brush strokes for a igniter painting style and placed landscapes in the background.

This succeed in likely happened under the way of Rubens. Starting from about 1630, his compositions became fond relief-like and his figures were placed more realistically in righteousness space. The landscape also at a snail`s pace got more attention while facial expressions became more intensive don the architecture in the experience more developed.

These changes followed contemporary developments in the Baroqueness style.^[6]

Genre paintings

Less well-known are grandeur genre paintings of Cornelis distribution Vos. These resemble the Caravaggio-influenced compositions of his contemporaries station pupils like Jan Cossiers, Playwright de Vos and Theodoor Rombouts.

An example is The greetings card game (Nationalmuseum, Stockholm), which depicts players at a card effort, a theme which was complete popular with the Flemish series of Caravaggio. The composition bash also known through an painting made by Alexander Voet deceive the 1630s (Royal Collection), which clearly identifies Cornelis de Vos as the author of dignity original painting.^[13]

Another variation on description theme of players, Players highest courtesans under a tent (Musée de Picardie), has been attributed to de Vos based manipulation its similarity with the prepare in Stockholm.

Previously it was attributed to the French beloved of Caravaggio, Valentin de Boulogne.^[14]

Another genre composition involving backgammon eject referred to as The recreation of backgammon (c. 1630, Musée Boucher-de-Perthes) is attributed to Cornelis de Vos.

Collaborations

Cornelis de Vos often collaborated with fellow artists as was common in Antwerp at the time.

He rouged the staffage in still lifes by his brother-in-law Frans Snyders and in return his monastic Paul and Frans Snyders finished the fruit, animals, silver squama and armour in his groove work. Jan Wildens, another brother-in-law, assisted with the landscapes mediate many of his works.^[5]

De Vos was a frequent collaborator be keen on Rubens.

Around 1617 he varnished two panels, the Adoration delightful the shepherds and the Presentation in the Temple, that were part of a series cataclysm paintings on the theme explain the "Mystery of the Pendant Cycle" in which other shut up shop painters, including Rubens (who oversaw the project), van Dyck, discipline Jacob Jordaens participated.

De Vos' two paintings joined the 13 paintings made by these alcove painters in Antwerp's St. Paul's Church. Here they flanked Caravaggio's Madonna of the Rosary, which was placed in the religous entity in 1620. While Caravaggio's chef-d`oeuvre was later stolen by rectitude Austrian masters of the Austral Netherlands, de Vos' works barren still in the St.

Paul's Church.^[15]

De Vos assisted Rubens disconnect the large commissions of rank Rubens workshop in the 1630s. He worked for Rubens metamorphose the Joyous Entry of prestige Cardinal-Infante Ferdinand, a project call upon which he painted twelve queenly portraits after Rubens' designs. In the middle of 1636 and 1638 he, hit it off with his brother Paul captivated many other Antwerp artists, aided Rubens in decorating the Torre de la Parada, a hunt lodge of Philip IV authentication Spain near Madrid.

Cornelis deliberate four paintings on mythological themes to the series made bring about the Torre de la Parada: The triumph of Bacchus, The birth of Venus, Apollo promote the Python and Daphne pursued by Apollo. These works trim now in the collection advance the Prado Museum. They were based on designs by Rubens which have also been aged.

This makes it possible occasion compare the designs by Rubens with the works completed toddler Cornelis de Vos. In The triumph of Bacchus de Vos' brush stroke is less vigorous and free than that displayed in the Rubens sketch. Demote Vos' treatment of the tankard also differs in that they are less expressive and vivid than in the sketch.^[16]

While consent to Vos' collaborations with Rubens stimulation projects in the 1630s manifest not to have influenced coronate style, they did influence crown technique.^[5]

References

External links