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 St Anne Altarpiece sg oil painting   

Painting ID::  8094
MASSYS, Quentin
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

   
   
     

 

 

MASSYS, Quentin St Anne Altarpiece (central panel)  g oil painting   

Painting ID::  8095
MASSYS, Quentin
St Anne Altarpiece (central panel) g
1507-08 Oil on wood, 224,5 x 219 cm Mus??es Royaux des Beaux-Arts, Brussels

   
   
     

 

 

MASSYS, Quentin St Anne Altarpiece (detail) rfg oil painting   

Painting ID::  8096
MASSYS, Quentin
St Anne Altarpiece (detail) rfg
1507-08 Oil on wood Mus??es Royaux des Beaux-Arts, Brussels

   
   
     

 

 

MASSYS, Quentin St Anne Altarpiece (right wing, detail)  eh oil painting   

Painting ID::  8097
MASSYS, Quentin
St Anne Altarpiece (right wing, detail) eh
1507-08 Oil on wood Mus??es Royaux des Beaux-Arts, Brussels

   
   
     

 

 

MASSYS, Quentin St John Altarpiece dfh oil painting   

Painting ID::  8098
MASSYS, Quentin
St John Altarpiece dfh
1507-08 Oil on wood, 260 x 504 cm Koninklijk Museum voor Schone Kunsten, Antwerp

   
   
     

 

 

MASSYS, Quentin St John Altarpiece (central panel)  g oil painting   

Painting ID::  8099
MASSYS, Quentin
St John Altarpiece (central panel) g
1507-08 Oil on wood Koninklijk Museum voor Schone Kunsten, Antwerp

   
   
     

 

 

MASSYS, Quentin St John Altarpiece (left wing) sg oil painting   

Painting ID::  8100
MASSYS, Quentin
St John Altarpiece (left wing) sg
1507-08 Oil on wood Koninklijk Museum voor Schone Kunsten, Antwerp

   
   
     

 

 

MASSYS, Quentin St John Altarpiece (right wing) dh oil painting   

Painting ID::  8101
MASSYS, Quentin
St John Altarpiece (right wing) dh
1507-08 Oil on wood Koninklijk Museum voor Schone Kunsten, Antwerp

   
   
     

 

 

MASSYS, Quentin St John Altarpiece (detail) g oil painting   

Painting ID::  8102
MASSYS, Quentin
St John Altarpiece (detail) g
1507-08 Oil on wood Koninklijk Museum voor Schone Kunsten, Antwerp

   
   
     

 

 

MASSYS, Quentin The Adoration of the Magi dh oil painting   

Painting ID::  8103
MASSYS, Quentin
The Adoration of the Magi dh
1526 Tempera and oil on wood Metropolitan Museum of Art, New York

   
   
     

 

 

MASSYS, Quentin Christ on the Cross with Donors (detail) sg oil painting   

Painting ID::  8104
MASSYS, Quentin
Christ on the Cross with Donors (detail) sg
c. 1520 Oil on wood Museum Mayer van den Bergh, Antwerp

   
   
     

 

 

MASSYS, Quentin Ecce Homo dhy oil painting   

Painting ID::  8105
MASSYS, Quentin
Ecce Homo dhy
c. 1515 Oil on panel, 160 x 120 cm Museo del Prado, Madrid

   
   
     

 

 

MASSYS, Quentin Entombment dh oil painting   

Painting ID::  8106
MASSYS, Quentin
Entombment dh
c. 1525 Wood Stedelijke Musea, Leuven

   
   
     

 

 

MASSYS, Quentin The Moneylender and his Wife sg oil painting   

Painting ID::  8107
MASSYS, Quentin
The Moneylender and his Wife sg
1514 Oil on panel, 71 x 68 cm Mus??e du Louvre, Paris

   
   
     

 

 

MASSYS, Quentin The Moneylender and his Wife (detail) sdg oil painting   

Painting ID::  8108
MASSYS, Quentin
The Moneylender and his Wife (detail) sdg
1514 Oil on panel Mus??e du Louvre, Paris

   
   
     

 

 

MASSYS, Quentin The Moneylender and his Wife (detail) sg oil painting   

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   

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   

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   

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   

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.