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Oil Painting Artist::. VOS, Marten de
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VOS, Marten de
Flemish painter (b. 1532, Antwerpen, d. 1603, Antwerpen).
Flemish painter and draughtsman. Together with the brothers Ambrosius Francken I and Frans Francken I, he ranks among the most important painters of altarpieces in Antwerp during the 1590s. Due, in part, to the Counter-Reformation, there was a renewed demand for altarpieces to replace those lost during iconoclastic riots in 1566 or the reformist movement of 1581. De Vos produced works for, among others, the Old Crossbowmen, the Brabant Coiners, the Antonites, the wine merchants and the Guild of St Luke. The importance of these works would seem to suggest that, after the deaths of Pieter Bruegel I in 1569 and Frans Floris in 1570, de Vos was considered, with some justification, the most important figure painter in Antwerp before Rubens. He was also a prolific draughtsman, especially during the first half of the 1580s, when the Calvinists were in power in Antwerp. During this period he provided numerous designs for print publishers, such as Peeter Baltens, Frans van Beusecom, the widow of Hieronymus Cock, Adriaen Collaert, Phillip Galle, Willem van Haecht, Eduard van Hoeswinkel, Gerard de Jode, Hans van Luyck and Johannes Baptista Vrints. This increased activity is probably indicative of the economic recession and a dwindling market for paintings (especially of religious themes). A total of some 1600 prints were produced after designs by de Vos, an output three times that of Maarten van Heemskerck. De Vos's drawings have been praised (see Mielke) for their lively,
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Portrait of Antonius Anselmus, His Wife and Their Children wr
1577
Oil on oak, 103 x 166 cm
Mus??es Royaux des Beaux-Arts, Brussels
Painting ID:: 9672
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Portrait_of_Antonius_Anselmus,_His_Wife_and_Their_Children_wr
1577
Oil on oak, 103 x 166 cm
Mus??es Royaux des Beaux-Arts, Brussels
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The Emperor's Toll set
1601
Oil on panel
Koninklijk Museum voor Schone Kunsten, Antwerp
Painting ID:: 9673
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The_Emperor's_Toll_set
1601
Oil on panel
Koninklijk Museum voor Schone Kunsten, Antwerp
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Scene from the Life of the Virgin ar
c. 1600
Panel
Cathedral, Tournai
Painting ID:: 9674
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Scene_from_the_Life_of_the_Virgin_ar
c. 1600
Panel
Cathedral, Tournai
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St Luke Painting the Virgin Mary awr
1602
Oil on panel, 270 x 217 cm
Koninklijk Museum voor Schone Kunsten, Antwerp
Painting ID:: 9675
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St_Luke_Painting_the_Virgin_Mary_awr
1602
Oil on panel, 270 x 217 cm
Koninklijk Museum voor Schone Kunsten, Antwerp
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The Marriage at Cana uyr
1596-97
Oil on panel, 268 x 235 cm
O.-L. Vrouwekathedraal, Antwerp
Painting ID:: 9676
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The_Marriage_at_Cana_uyr
1596-97
Oil on panel, 268 x 235 cm
O.-L. Vrouwekathedraal, Antwerp
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VOS,_Marten_de
Flemish painter (b. 1532, Antwerpen, d. 1603, Antwerpen).
Flemish painter and draughtsman. Together with the brothers Ambrosius Francken I and Frans Francken I, he ranks among the most important painters of altarpieces in Antwerp during the 1590s. Due, in part, to the Counter-Reformation, there was a renewed demand for altarpieces to replace those lost during iconoclastic riots in 1566 or the reformist movement of 1581. De Vos produced works for, among others, the Old Crossbowmen, the Brabant Coiners, the Antonites, the wine merchants and the Guild of St Luke. The importance of these works would seem to suggest that, after the deaths of Pieter Bruegel I in 1569 and Frans Floris in 1570, de Vos was considered, with some justification, the most important figure painter in Antwerp before Rubens. He was also a prolific draughtsman, especially during the first half of the 1580s, when the Calvinists were in power in Antwerp. During this period he provided numerous designs for print publishers, such as Peeter Baltens, Frans van Beusecom, the widow of Hieronymus Cock, Adriaen Collaert, Phillip Galle, Willem van Haecht, Eduard van Hoeswinkel, Gerard de Jode, Hans van Luyck and Johannes Baptista Vrints. This increased activity is probably indicative of the economic recession and a dwindling market for paintings (especially of religious themes). A total of some 1600 prints were produced after designs by de Vos, an output three times that of Maarten van Heemskerck. De Vos's drawings have been praised (see Mielke) for their lively,
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