All MASSYS, Quentin 's Paintings
The Painting Names Are Sorted From A to Z

Choice ID Image  Paintings (From A to Z)       Details 
51047 Christ on the Cross with Donors  Christ on the Cross with Donors   c. 1520 Oil on wood, 156 x 92,7 cm
8104 Christ on the Cross with Donors (detail) sg  Christ on the Cross with Donors (detail) sg   c. 1520 Oil on wood Museum Mayer van den Bergh, Antwerp
43551 Ecce Homo  Ecce Homo   c. 1515 Oil on panel 160 x 120 cm
8105 Ecce Homo dhy  Ecce Homo dhy   c. 1515 Oil on panel, 160 x 120 cm Museo del Prado, Madrid
8106 Entombment dh  Entombment dh   c. 1525 Wood Stedelijke Musea, Leuven
32400 John the Baptist and St Agnes  John the Baptist and St Agnes   c. 1520 Oil on oak, 48 x 13,3 cm
33534 Portrait of a Canon  Portrait of a Canon   mk86 c.1510-1520 Oil on wood 60x73cm Vaduz
8111 Portrait of a Canon atuy  Portrait of a Canon atuy   1510s Oil on wood, 60 x 73 cm Collection of the Prince of Lichtenstein, Vaduz
8110 Portrait of an Old Man sg  Portrait of an Old Man sg   c. 1517 Oil on wood, 48 x 37 cm Mus??e Jacquemart-Andr??, Paris
8113 Portrait of Erasmus of Rotterdam sg  Portrait of Erasmus of Rotterdam sg   1517 Oil on panel, transferred to canvas, 59 x 46,5 cm Galleria Nazionale d'Arte Antica, Rome
64220 St Anne Altarpiece  St Anne Altarpiece   1507-08 Oil on wood, 220 x 92 cm (each wing) Musees Royaux des Beaux-Arts, Brussels The backs of the wings, when the triptych is closed, juxtapose two scenes. The first takes place beneath the portico of a church, the double arch of which gives onto a square, at the far end of which can be seen the tower of Antwerp cathedral. Under the portico, the High Priest of Jerusalem is receiving an ebony casket from St Anne, who lowers her eyes. Behind her, Joachim holds a parchment which contains the act of donation to the temple and its ministers. In the distance are two figures seen from behind: these too are Anne and Joachim, distributing money to the poor. In the second scene, Joachim's face and attitude express his distress and confusion: the High Priest has refused the coins Joachim has just placed on the offering table, and is gesturing to him brusquely to leave. Massys may sometimes tend towards mawkishness in his treatment of these themes, but St Anne was a particularly popular legend in Flanders and Holland, and this painting brought him immediate and considerable success. , Artist: MASSYS, Quentin , St Anne Altarpiece (closed) , 1451-1500 , Flemish , painting , religious
64560 St Anne Altarpiece  St Anne Altarpiece   1507-08 Oil on wood Mus?es Royaux des Beaux-Arts, Brussels The right wing shows St Anne on her death bed, covered with a red sheet, her face pale, her mouth half open, as if she had just breathed her last. Mary Salome, who has collapsed with grief, wipes the tears from her cheeks. Artist:MASSYS, Quentin Title: St Anne Altarpiece (right wing, detail), 1451-1500, Flemish , painting , religious
8095 St Anne Altarpiece (central panel) g  St Anne Altarpiece (central panel) g   1507-08 Oil on wood, 224,5 x 219 cm Mus??es Royaux des Beaux-Arts, Brussels
8096 St Anne Altarpiece (detail) rfg  St Anne Altarpiece (detail) rfg   1507-08 Oil on wood Mus??es Royaux des Beaux-Arts, Brussels
8097 St Anne Altarpiece (right wing, detail) eh  St Anne Altarpiece (right wing, detail) eh   1507-08 Oil on wood Mus??es Royaux des Beaux-Arts, Brussels
8094 St Anne Altarpiece sg  St Anne Altarpiece sg   1507-08 Oil on wood, 224,5 x 219 cm (centre), 220 x 92 cm (each wing) Mus??es Royaux des Beaux-Arts, Brussels
8112 St Christopher sh  St Christopher sh   Oil on wood Koninklijk Museum voor Schone Kunsten, Antwerp
32405 St John Altarpiece  St John Altarpiece   1507-08 Oil on wood, 260 x 504 cm
64221 St John Altarpiece  St John Altarpiece   1507-08 Oil on wood Koninklijk Museum voor Schone Kunsten, Antwerp The monumental triptych welds together 15th century tradition and the new ideas about art which were emerging from Italy. The light effects, the gradation of colour and the interweaving of the composition hark back to the attention to detail, the use of landscape as a backdrop and the rather stereotypical figures of the previous century. , Artist: MASSYS, Quentin , St John Altarpiece (detail) , 1451-1500 , Flemish , painting , religious
8099 St John Altarpiece (central panel) g  St John Altarpiece (central panel) g   1507-08 Oil on wood Koninklijk Museum voor Schone Kunsten, Antwerp
8102 St John Altarpiece (detail) g  St John Altarpiece (detail) g   1507-08 Oil on wood Koninklijk Museum voor Schone Kunsten, Antwerp
8100 St John Altarpiece (left wing) sg  St John Altarpiece (left wing) sg   1507-08 Oil on wood Koninklijk Museum voor Schone Kunsten, Antwerp
8101 St John Altarpiece (right wing) dh  St John Altarpiece (right wing) dh   1507-08 Oil on wood Koninklijk Museum voor Schone Kunsten, Antwerp
8098 St John Altarpiece dfh  St John Altarpiece dfh   1507-08 Oil on wood, 260 x 504 cm Koninklijk Museum voor Schone Kunsten, Antwerp
63974 St Mary Magdalene  St Mary Magdalene   45 x 29 cm Koninklijk Museum voor Schone Kunsten, Antwerp Quentin Massys was the first major artist of the rising Antwerp school in the 16th century. In his refined Saint Mary Magdalene, the artist conveys his ideal of feminine beauty in masterly fashion. , Artist: MASSYS, Quentin , St Mary Magdalene , 1451-1500 , Flemish , painting , religious
32395 The Adoration of the Magi  The Adoration of the Magi   1526 Tempera and oil on wood
8103 The Adoration of the Magi dh  The Adoration of the Magi dh   1526 Tempera and oil on wood Metropolitan Museum of Art, New York
33533 The Money-changer and his Wife  The Money-changer and his Wife   mk86 1514 Oil on wood 70x67cm Paris,Musee National du Louvre
8108 The Moneylender and his Wife (detail) sdg  The Moneylender and his Wife (detail) sdg   1514 Oil on panel Mus??e du Louvre, Paris
8109 The Moneylender and his Wife (detail) sg  The Moneylender and his Wife (detail) sg   1514 Oil on panel Mus??e du Louvre, Paris
8107 The Moneylender and his Wife sg  The Moneylender and his Wife sg   1514 Oil on panel, 71 x 68 cm Mus??e du Louvre, Paris
8114 The Virgin Enthroned sg  The Virgin Enthroned sg   c. 1525 Oil on wood, 135 x 90 cm Staatliche Museen, Berlin
63979 Virgin and Child  Virgin and Child   The Hague , Artist: MASSYS, Quentin , Virgin and Child , 1451-1500 , Flemish , painting , religious
63980 Virgin and Child  Virgin and Child   130 x 86 cm Musees Royaux des Beaux-Arts, Brussels The Virgin is seated in three-quarter profile on an imposing stone throne with Gothic ornamentation. Richly dressed in a dark red, fur-lined gown and a mantle bordered with pearl braiding, her head inclined in recollection, she holds the infant Jesus on her right arm. She appears to be meditating a passage in the book that Christ is thumbing. Their faces are surrounded by halos of golden rays. The Child, in a long white shirt, has seized the bookmark. Through an open window to the right of the throne we glimpse a building on the other side of a courtyard. The upper part of the window is decorated with a stained glass panel depicting St Catherine flanked by two escutcheons. A similar stained glass window to the left carries the figure of St Barbara. This painting, attributed to Quentin Massys, is part of the Madonna with Child group that the artist painted during his youth. The symmetrical composition, the hieratic presentation of the figures, the style of the Virgin's garments and the vigorous modelling of the draperies as well as the Gothic ornamentations all recall the tradition of the Flemish Primitives. The iconographic theme picks up the traditional image of Christ's incarnation. The Virgin in majesty is directly associated with the divine nature of her Son, the Word incarnate. Her meditative attitude and the red of her garments evoke the presentiment she had of her Child's destiny right from his birth. Massys' work refers back to earlier compositions that present Christ reading in the Virgin's arms. Two famous examples are Rogier van der Weyden's Madonna Duren (Madrid, Prado) and the Ince Hall Virgin attributed to a follower of Jan van Eyck (Melbourne, National Gallery of Victoria). With Massys we have the same monumental pose of the Virgin, with the niche-shaped throne similar to the one in Van der Weyden's painting. Even if the Brussels Madonna with Child shows how much the painter was part of the Flemish tradition, before coming under the influence of the Renaissance, it already contains the novel elements that were to make Massys the captivating and highly innovative artist whose talent would be fully revealed in his later works. With his exceptionally ample volumes, his supple shapes caressed by a strong, yet soft light, and the virtuoso translucency of his colouring technique, he carries the art of modelling forward to new heights. , Artist: MASSYS, Quentin , Virgin and Child , 1451-1500 , Flemish , painting , religious
63978 Virgin with the Child  Virgin with the Child   22,5 cm Rockox House, Antwerp Around 1500, when the port of Antwerp began to emerge as the capital of north European trade, it also became a cultural melting pot. All manner of artists flocked into the town on the Scheldt. One of these was Quentin Massys from Louvain, who registered as a painter in the St. Lucas Guild in 1491, and is regarded as the founder of the Antwerp School which was soon to topple the hegemony of the School of Bruges. He remained faithful to the Flemish tradition, although the sfumato in the background of some of his landscapes shows that he was familiar with the work of Leonardo da Vinci. He is usually regarded as a painter of monumental works, and rightly so, but he also painted smaller scale scenes with figures. This is hardly surprising, since his technique had its sources in miniature paintings. The Holy Virgin with the Child Jesus, a small tondo, bears witness to the attention the master paid to sensitive, finely detailed drawing to express the tender movement of the form, and the subtle use of colour to convey the essence of a variety of textures. , Artist: MASSYS, Quentin , Virgin with the Child , 1451-1500 , Flemish Form
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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