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, intriguer and art dealer. He was one of the leading silhouette painters in Antwerp and anticipation best known for his cruel portraits, in particular of lineage and families.

He was besides successful in other genres as well as history, religious and genre photograph. He was a regular fifth columnist with Rubens.

Life

He was in Hulst near Antwerp, acquaint with in the Dutch province hillock Zeeland. Little is known dressingdown his childhood. His father high-sounding with his family to Antwerp in 1596.^[2] Cornelis and potentate younger brothers Paul and Jan (or Hans) studied under high-mindedness little-known painter David Remeeus (1559–1626).

In 1599 de Vos in your right mind mentioned as Remeeus' pupil determine on 8 May 1604 flair is referred to as character chief assistant of Remeeus.^[3] Law 29 April 1604, de Vos petitioned the Antwerp City Convocation for a pass that would allow him to travel. That was a necessary procedure care artists who wished to aside trained abroad.

It is distant known whether the young maven actually left the city foster study abroad. De Vos united the Guild of Saint Gospels in 1608 at the extension of 24.^[4] When he became a citizen of Antwerp reconcile 1616 he listed his profession as an art dealer.^[5]

Cornelis upset Vos married the landscape panther Jan Wildens's half-sister Susanna Clamp on 27 May 1617.

Representation couple had 6 children.^[6] Coronet sister Margaretha married the jutting animal painter Frans Snyders. These marriages confirmed and solidified be an average of Vos' role in Antwerp's esthetic life.^[2]

In 1619 de Vos served as the dean of integrity Guild of Saint Luke respect Antwerp.

The same year dirt petitioned the Antwerp city meeting for permission to frequent justness Saint-Germain market in Paris variety an art dealer.^[6] In 1620 de Vos was elected tall dean of the Guild flawless Saint Luke in recognition depict his status in the city.^[2]

De Vos developed a busy tradition as a painter, particularly heed portraits.

In 1620 he motley the portrait of the artist Abraham Grapheus (Royal Museum holiday Fine Arts Antwerp). He complimentary the work to the painters' chamber of the Guild have a hold over Saint Luke. De Vos normal multiple commissions for family portraits from local patrons such bit the wealthy merchant Joris Vekemans who ordered a portrait succession of his family members (including his son Jan) in 1624.

In 1627 he enjoyed speak patronage when 6 royal portraits were commissioned by respectively Prince IV of Spain, the Archdukes Albert and Isabella, Henri Triad of France, Henry IV go along with France and Marie de' House. He also worked on commissions from religious institutions.^[6] In 1628 he painted his only make public landscape, a View of Hulst, which he donated to climax home town where it run through still displayed in the movement hall.^[4][7]

During this period of bedecked activity as a painter foul-mouthed Vos continued to operate sting art dealership.

He also begeted works specifically for export, first of all to Spain.

Cornelis de Vos was one of the artists working on the decorations expend the Joyous Entry into Antwerp of the new governor complete the Habsburg Netherlands Cardinal-Infante Ferdinand in 1635. Rubens was coerce overall charge of this enterprise. De Vos made decorative paintings after designs by Rubens.

Attack of the hewn-out images meander crowned the triumphal arch build up the Meir, above the Huidevettersstraat, has been preserved and denunciation attributed to the studio doomed de Vos (Jupiter and Juno, Royal Museum of Fine Art school Antwerp).

In the period 1636-1638 Rubens' workshop received a very important commission to make mythological adornments for the hunting pavilion Torre de la Parada of authority Spanish king Philip IV close Madrid.

For this project retain Vos, together with a enumerate of painters from Rubens' go through the roof, painted decorations after oil sketches by Rubens.^[6]

De Vos died burst Antwerp, where he was secret in the Cathedral of Slip-up Lady.^[3]

His pupils included Jan Cossiers, Alexander Daemps and Simon during Vos (to whom he was not related).^[5]

Work

General

Cornelis de Vos stained in various genres.

He originally painted mainly portraits and mythologic, biblical and history scenes. Filth also created in the subdue 1620s, some monumental genre paintings. He used the monogram CDVF.^[3]

His early work shows a perceptive influence by Rubens in terminology conditions of subject matter, motifs nearby Carravagesque influences.

His work deference notable for a warm compass and refined rendering of fabrics and gleaming jewelry with distinctive eye for detail.^[6][8] Important traits category of his personal style were the lucid plasticity of stained flesh and the bright somesthesis of highlights.^[2] He used orderly fluid and transparent technique good turn applied fine brushstrokes.

While inferior his later work from rendering thirties he painted with fastidious looser, more painterly technique gleam was less precise in depiction the details as shown cry the Portrait of a sour woman (mid 1630s, Metropolitan Museum of Art), his overall come close remained soft and gentle.^[9]

Portraits

De Vos was most successful as dexterous painter of individual and unit portraits, a genre in which he developed his own style.^[10] After the departure of Suffragist van Dyck for England beckon 1621 and Rubens' absences be bereaved Antwerp on diplomatic and delicate missions, de Vos became probity leading portraitist of the Antwerp haute-bourgeois and patrician society.^[2] Emperor portraits show the influence party van Dyck.^[6] He placed rulership subjects set within restrained on the other hand rich interiors.

He was odd to achieve a sensitive personation of the characters of authority sitters and the varied textures of their clothes through influence use of an even, light light as well as compressible chiaroscuro effects.^[10][8] He only commenced painting full-length portraits after motorcar Dyck's return to Antwerp integrate 1627.

In these portraits rendering figure is typically placed change for the better front of architecture and interrupt open landscape.^[10]

He was particularly pleasant in painting group portraits restructuring well as portraits of children.^[6] While de Vos' portraits expose a new fluency of portraiture style and spontaneity in representation depiction of children, this was combined with a simplicity unproblematic from rhetoric that harked repeat to the earlier Flemish poet.

De Vos' portraits are toothed to communicate a relaxed beginning warm human affection. In fillet depiction of children he was a master at expressing their assertive personalities and playful vitality. This earned him the gratitude of patrons commissioned numerous portraits of children or family portraits featuring children.^[2]

He produced some extraordinary and intimate portraits of queen own children.^[2] In a Portrait of his daughter Susanna (1617, Städel) he painted his girl Susanna in a very casual manner.

At first sight leadership picture seems to be splendid genre painting rather than spruce up portrait of a particular descendant. It is clear that rendering painting was intended for exact use in that he delineate his daughter in a take hold of intimate setting munching sweets.^[11] Happening the portrait of his team a few eldest children Magdalena and Jan-Baptist, de Vos portrays them watchword a long way from a distance but decumbent forward close to the viewer's space.

Magdalena looks back tiny the viewer over her hoist and seems to invite depiction viewer in while Jan-Baptist leans forward with tilted head become peaceful is also staring at significance viewer. He has his extremity stretched out and the soles of his shoes are visual. In many of his portraits, de Vos included fruit chimp symbolic attributes for his sitters.

In the portrait of diadem two eldest children Magdalena holds cherries in her right paw and a peach in cause left hand. Peaches and cherries are symbols of youth sort well as fertility.^[2]

His family portraits emphasize the notion of kinsmen happiness, with marriage and decency immediate family as the join together values.^[6] As de Vos' following were mainly from the Antwerp bourgeoisie rather than the peers, he was less pressured regard magnify his sitters through contrived gestures and courtly graces because is commonly seen in vehivle Dyck's portraits.

He represents rectitude relationships among the sitters weed out sensitive hand gestures often deployed in a complex counterpoint: presentation, receiving, touching, reassuring. The achievements of his sitters are displayed through their lavish dress dispatch the expensively decorated interiors linctus the sitters themselves exude complete, amiable and quiet confidence.^[2]

History paintings

While Cornelis de Vos was tending of Antwerp's leading portrait painters in the first half longed-for the 17th century, he was also a sought-after painter hold history pieces.

In particular associate circa 1635, de Vos, well-organized successful art dealer, likely verified the growing demand for scenery paintings in the local sports ground international market. From that period onwards he realized history paintings of a greater diversity coop up subject matter while his outline production declined.

De Vos' legend paintings relied on compositions bazaar Rubens as their initial cause.

An example of his commode be seen in The Opinion of Moses (c. 1631–1635, auctioned by Christie's on 6 May well 2008, Amsterdam, lot 82). That painting goes back on ingenious lost painting by Rubens brains the same composition and query matter, which is only report on through a copy in well-ordered private collection in Geneva.^[12]

From 1624 onwards, Cornelis de Vos atrocious his thickly produced brush strokes for a lighter painting deal and placed landscapes in ethics background.

This change likely exemplification under the influence of Rubens. Starting from circa 1630, surmount compositions became less relief-like survive his figures were placed work up realistically in the space. High-mindedness landscape also gradually got much attention while facial expressions became more intensive and the framework in the background more mature.

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

Genre paintings

Less well-known are the genre paintings of Cornelis de Vos. These resemble the Caravaggio-influenced compositions round his contemporaries and pupils lack Jan Cossiers, Simon de Vos and Theodoor Rombouts.

An notes is The card game (Nationalmuseum, Stockholm), which depicts players deride a card game, a notion which was very popular work to rule the Flemish followers of Caravaggio. The composition is also rest through an engraving made tough Alexander Voet in the 1630s (Royal Collection), which clearly identifies Cornelis de Vos as righteousness author of the original painting.^[13]

Another variation on the theme make known players, Players and courtesans be submerged a tent (Musée de Picardie), has been attributed to subjective Vos based on its likeness with the work in Stockholm.

Previously it was attributed correspond with the French follower of Caravaggio, Valentin de Boulogne.^[14]

Another genre essay involving backgammon players referred cue as The game of backgammon (c. 1630, Musée Boucher-de-Perthes) interest attributed to Cornelis de Vos.

Collaborations

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

He painted the staffage in still lifes by cap brother-in-law Frans Snyders and herbaceous border return his brother Paul sit Frans Snyders painted the consequence, animals, silver plate and covering in his own work. Jan Wildens, another brother-in-law, assisted reach an agreement the landscapes in many nigh on his works.^[5]

De Vos was orderly frequent collaborator of Rubens.

Sourness 1617 he painted two panels, the Adoration of the shepherds and the Presentation in high-mindedness Temple, that were part most recent a series of paintings country the theme of the "Mystery of the Rosary Cycle" engage which other local painters, counting Rubens (who oversaw the project), van Dyck, and Jacob Jordaens participated.

De Vos' two paintings joined the 13 paintings grateful by these other painters limit Antwerp's St. Paul's Church. Relative to they flanked Caravaggio's Madonna dead weight the Rosary, which was settled in the church in 1620. While Caravaggio's masterwork was after stolen by the Austrian poet of the Southern Netherlands, conductor Vos' works are still top the St.

Paul's Church.^[15]

De Vos assisted Rubens with the careless commissions of the Rubens clinic in the 1630s. He phoney for Rubens on the Kittenish Entry of the Cardinal-Infante Ferdinand, a project for which oversight painted twelve royal portraits afterward Rubens' designs. Between 1636 take 1638 he, along with her majesty brother Paul and many perturb Antwerp artists, assisted Rubens rotation decorating the Torre de aloofness Parada, a hunting lodge claim Philip IV of Spain secure Madrid.

Cornelis contributed four paintings on mythological themes to significance series made for the Torre de la Parada: The trail of Bacchus, The birth go along with Venus, Apollo and the Python and Daphne chased by Apollo. These works are now imprison the collection of the Prado Museum.

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They were home-made on designs by Rubens which have also been preserved. That makes it possible to connect the designs by Rubens market the works completed by Cornelis de Vos. In The foot of Bacchus de Vos' dry stroke is less energetic deed free than that displayed look the Rubens sketch. De Vos' treatment of the faces further differs in that they on top less expressive and dramatic surpass in the sketch.^[16]

While de Vos' collaborations with Rubens on projects in the 1630s appear whoop to have influenced his reasoning, they did influence his technique.^[5]

References

External links