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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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Nativity ery
1577
Oil on panel, 106 x 75 cm
O.-L. Vrouwekathedraal, Antwerp
Painting ID:: 9677
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Nativity__ery
1577
Oil on panel, 106 x 75 cm
O.-L. Vrouwekathedraal, Antwerp
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The Temptation of St Antony awr
1591-94
Oil on panel, 280 x 212 cm
Koninklijk Museum voor Schone Kunsten, Antwerp
Painting ID:: 9678
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The_Temptation_of_St_Antony__awr
1591-94
Oil on panel, 280 x 212 cm
Koninklijk Museum voor Schone Kunsten, Antwerp
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The Family of St Anne aer
1585
Oil on panel, 155,3 x 170 cm
Museum voor Schone Kunsten, Ghent
Painting ID:: 9679
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The_Family_of_St_Anne_aer
1585
Oil on panel, 155,3 x 170 cm
Museum voor Schone Kunsten, Ghent
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The Tribunal of the Brabant Mint in Antwerp wr
1594
Oil on panel, 157 x 215 cm
Rockox House, Antwerp
Painting ID:: 9680
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The_Tribunal_of_the_Brabant_Mint_in_Antwerp_wr
1594
Oil on panel, 157 x 215 cm
Rockox House, Antwerp
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The Temptations of St.Anthony
mk126
1591-94
Oil on wood
280x212cm
Painting ID:: 37416
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The_Temptations_of_St.Anthony
mk126
1591-94
Oil on wood
280x212cm
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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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