MASSYS, Quentin
Flemish Northern Renaissance Painter, ca.1465-1530 Quentin Massys, also spelled Matsys or Metsys, was born in Louvain, the son of a blacksmith. He is traditionally thought to have been trained in that craft by his father. Art in Louvain while Massys was growing up was dominated by Dirk Bouts. Massys became a member of the painters' guild in Antwerp in 1491 and died there in 1530. He represented a current of painting that flourished in Antwerp at this time of its sudden new prosperity. Erwin Panofsky (1953) described this trend, "archaism of around 1500," as "a prelude to, in fact a fact of, the Renaissance in Netherlandish painting," which prevailed in the southern Netherlands. The monumental Enthroned Madonna (Brussels), an early work by Massys, has features recalling both Robert Campin and Jan van Eyck. The central panel of Massys' imposing St. Anne Altarpiece, or the Holy Kinship (Brussels), which was commissioned for the church of St-Pierre in Louvain in 1507 and signed and dated 1509, has a prototype in the Holy Kinship of Geertgen tot Sint Jans. Even the physical types and costumes in Massys' version refer to Geertgen's. But Massys placed his rhythmically balanced figure groups in a domed, arcaded loggia that in architectural style appears to be reaching for a Renaissance vocabulary it cannot quite attain; certainly the architecture evokes a later period than that represented by the Gothic throne of the Enthroned Madonna. The calm and restraint of the St. Anne Altarpiece are replaced by heightened emotional expression in the next important painting by Massys that can be firmly dated, the Deposition triptych (Antwerp). This was commissioned in 1508 by the guild of joiners in Antwerp for their chapel in the Cathedral; Massys completed the composition in 1511. It was inspired by Rogier van der Weyden's great Deposition, which was in the church of St-Pierre in Louvain in Massys' time, and also quotes from Rogier's Entombment. Massys painted genre subjects, possibly with emblematic meaning, such as A Money Changer and His Wife, which belonged to a Netherlandish tradition that maintained its popularity right through the 17th century. In portraiture he made significant contributions. His pair of portraits of Erasmus and Petrus Aegidius, painted in 1517 for Sir Thomas More, set the pattern for representations of the scholar in his study.
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MASSYS, Quentin The Moneylender and his Wife (detail) sg oil painting


The Moneylender and his Wife (detail) sg
1514 Oil on panel Mus??e du Louvre, Paris
Painting ID::  8109 		MASSYS, Quentin
The Moneylender and his Wife (detail) sg
1514 Oil on panel Mus??e du Louvre, Paris
   
   
     
MASSYS, Quentin Portrait of an Old Man sg oil painting


Portrait of an Old Man sg
c. 1517 Oil on wood, 48 x 37 cm Mus??e Jacquemart-Andr??, Paris
Painting ID::  8110 		MASSYS, Quentin
Portrait of an Old Man sg
c. 1517 Oil on wood, 48 x 37 cm Mus??e Jacquemart-Andr??, Paris
   
   
     
MASSYS, Quentin Portrait of a Canon atuy oil painting


Portrait of a Canon atuy
1510s Oil on wood, 60 x 73 cm Collection of the Prince of Lichtenstein, Vaduz
Painting ID::  8111 		MASSYS, Quentin
Portrait of a Canon atuy
1510s Oil on wood, 60 x 73 cm Collection of the Prince of Lichtenstein, Vaduz
   
   
     
MASSYS, Quentin St Christopher sh oil painting


St Christopher sh
Oil on wood Koninklijk Museum voor Schone Kunsten, Antwerp
Painting ID::  8112 		MASSYS, Quentin
St Christopher sh
Oil on wood Koninklijk Museum voor Schone Kunsten, Antwerp
   
   
     
MASSYS, Quentin Portrait of Erasmus of Rotterdam sg oil painting


Portrait of Erasmus of Rotterdam sg
1517 Oil on panel, transferred to canvas, 59 x 46,5 cm Galleria Nazionale d'Arte Antica, Rome
Painting ID::  8113 		MASSYS, Quentin
Portrait of Erasmus of Rotterdam sg
1517 Oil on panel, transferred to canvas, 59 x 46,5 cm Galleria Nazionale d'Arte Antica, Rome
   
   
     
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     MASSYS, Quentin
     Flemish Northern Renaissance Painter, ca.1465-1530 Quentin Massys, also spelled Matsys or Metsys, was born in Louvain, the son of a blacksmith. He is traditionally thought to have been trained in that craft by his father. Art in Louvain while Massys was growing up was dominated by Dirk Bouts. Massys became a member of the painters' guild in Antwerp in 1491 and died there in 1530. He represented a current of painting that flourished in Antwerp at this time of its sudden new prosperity. Erwin Panofsky (1953) described this trend, "archaism of around 1500," as "a prelude to, in fact a fact of, the Renaissance in Netherlandish painting," which prevailed in the southern Netherlands. The monumental Enthroned Madonna (Brussels), an early work by Massys, has features recalling both Robert Campin and Jan van Eyck. The central panel of Massys' imposing St. Anne Altarpiece, or the Holy Kinship (Brussels), which was commissioned for the church of St-Pierre in Louvain in 1507 and signed and dated 1509, has a prototype in the Holy Kinship of Geertgen tot Sint Jans. Even the physical types and costumes in Massys' version refer to Geertgen's. But Massys placed his rhythmically balanced figure groups in a domed, arcaded loggia that in architectural style appears to be reaching for a Renaissance vocabulary it cannot quite attain; certainly the architecture evokes a later period than that represented by the Gothic throne of the Enthroned Madonna. The calm and restraint of the St. Anne Altarpiece are replaced by heightened emotional expression in the next important painting by Massys that can be firmly dated, the Deposition triptych (Antwerp). This was commissioned in 1508 by the guild of joiners in Antwerp for their chapel in the Cathedral; Massys completed the composition in 1511. It was inspired by Rogier van der Weyden's great Deposition, which was in the church of St-Pierre in Louvain in Massys' time, and also quotes from Rogier's Entombment. Massys painted genre subjects, possibly with emblematic meaning, such as A Money Changer and His Wife, which belonged to a Netherlandish tradition that maintained its popularity right through the 17th century. In portraiture he made significant contributions. His pair of portraits of Erasmus and Petrus Aegidius, painted in 1517 for Sir Thomas More, set the pattern for representations of the scholar in his study.

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