|Quentin Matsys (Dutch: Quinten Matsijs) (1466–1529) was a painter in the Flemish tradition and a founder of the Antwerp school. He was born at Leuven, where legend states he was trained as an ironsmith before becoming a painter. Matsys was active in Antwerp for over 20 years, creating numerous works with religious roots and satirical tendencies.|
Most early accounts of Matsys' life are composed primarily of legend and very little contemporary accounts exist of the nature of his activities or character. According to J. Molanus' Historiae Lovaniensium Matsys is known to be a native of Leuven with humble beginnings as a ironsmith. One of four children, Matsys was born to Joost Matsys (d. 1483) and Catherine van Kincken sometime between April 4 and September 10, 1466. Legend states that Matsys abandoned his career as a blacksmith to woo his wife, who found painting to be a more romantic profession. Documented donations and possessions of Joost Matsys indicate that the family had a respectable income and that financial need was most likely not the reason Matsys turned to painting. During the period in which Matsys was active in Antwerp he took only four apprentices: Arian van Overbeke (master 1501, inscribed 1495), Willem Muelenbroec (inscribed 1501), Eduart Portugalois (master 1506, inscribed 1504), and Hennen Boeckmakere (inscribed 1510). It is widely believed that Joachim Patinir studied with Matsys at some point during his career and contributed to several of his landscapes. Lack of guild records during this time leaves Matsys' travels to Italy and other parts of the Netherlands as part of his training up to question. For the most part, foreign influences on Matsys are inferred from his paintings and are considered to be a large portion of the artist's training during the 16th century.
During the greater part of the 15th century, the centres in which the painters of the Low Countries most congregated were Tournai, Bruges, Ghent and Brussels. Leuven gained prominence toward the close of this period, employing workmen from all of the crafts including Matsys. Not until the beginning of the 16th century did Antwerp take the lead which it afterward maintained against Bruges, Ghent, Brussels, Mechelen and Leuven. Because no guild records were kept prior to 1494 in Leuven there is no concrete proof that Matsys attained his master's status there; however, historians generally accept this to be the location of his early training because there he had not been previously registered in Antwerp as an apprentice. As a member of Antwerp's Guild of Saint Luke, Matsysis considered to be one of its first notable artists. Existing records of guild laws and regulations from the 16th century indicate that it is highly unlikely that Matsys was self taught, despite accounts in Carel van Mander's Schilderboek (1604) stating that Matsys studied under no artist.
The roots of Matsys' training are unknown, but his style reflects the artistic qualities of Dirk Bouts, who brought to Leuven the influence of Memling and van der Weyden. When Matsys settled at Antwerp at the age of twenty-five, his own style contributed importantly to reviving Flemish art along the lines of van Eyck and van der Weyden. Matsys departed from Leuven in 1491 when he became a master in the guild of painters at Antwerp. His most well known satirical works include The Ugly Dutchess (1515), A Portrait of an Elderly Man (1513), and The Money Changer and His Wife (1514), all of which provide commentary on human feeling and society in general. He also painted religious altarpieces and triptych panels, the most famous of which was built for the Church of Saint Peter in Leuven.
Matsys work is considered to contain strong religious feeling—characteristic of traditional Flemish works—and is accompanied by a realism that often favored the grotesque. The faces of the boors of Steen or Ostade may well have had predecessors in the pictures of Matsys, though he was not inclined to use them in the same homely way. Matsys' firmness of outline, clear modelling and thorough finish of detail stem from van de Weyden's influence; from the van Eycks and Memling by way of Dirck Bouts, the glowing richness of transparent pigments. Matsys' works generally reflect earnestness in expression, minutely detailed renderings, and subdued effects in light and shade. Like most Flemish artists of the time he paid a great deal of attention to jewelry, edging of garments, and ornamentation in general.
Most of the emphasis in his works lies not upon atmosphere, which is in fact given very little attention, but to the literalness of caricature: emphasizing the melancholy refinement of saints, the brutal gestures and grimaces of gaolers and executioners. Strenuous effort is devoted to the expression of individual character. A satirical tendency may be seen in the pictures of merchant bankers (Louvre and Windsor), revealing their greed and avarice. His other impulse, dwelling on the feelings of tenderness, may be noted in two replicas of the Virgin and Child at Berlin and Amsterdam, where the ecstatic kiss of the mother seems rather awkward. An expression of acute despair may be seen in a Lucretia in the museum at Vienna. The remarkable glow of the colour in these works; however, makes the Mannerist exaggerations palatable.
Matsys had considerable skill as a portrait painter. His Ægidius (Peter Gilles) which drew from Thomas More a eulogy in Latin verse, is but one of many, to which one may add the portrait of Maximilian of Austria in the gallery of Amsterdam. In this branch of his practice, Matsys was greatly influenced by his contemporaries Lucas van Leyden and Jan Mabuse. Matsys' portraiture exhibits highly personal and individual emotional characteristics that reflect his adherence to realism as a technique.
In comparison to other Northern Renaissance artists such as Holbein and Dürer Matsys shies away from refined and subtle detailing. Because there are numerous connections between him and these masters, however, it can be concluded that his departure in techniques was deliberate and not an act of ignorance. He most likely met Holbein more than once on his way to England, and Dürer is believed to have visited his house at Antwerp in 1520. Matsys also became the guardian of Joachim Patinir's children after the death of that painter, who is believed to have worked on some of the landscapes in Matsys' pictures.
His Virgin and Christ, Ecce Homo and Mater Dolorosa (London and Antwerp) are known for their serene and dignified mastery, gaining in delicacy and nuance in the works of his maturity. It is believed that he had known the work of Leonardo da Vinci in the form of prints made and circulated among northern artists (his Madonna and Child with the Lamb, inspired by The Virgin and Child with St. Anne, reflects da Vinci's inflences). This is largely regarded as proof that Matsys was greatly influenced by Italian Renaissance artists and that he most likely travelled to Italy for at least a brief period.
Matsys died at Antwerp in 1529. In spite of his religious devotion, several of his relatives died as a result of their faith. His sister Catherine and her husband suffered at Leuven in 1543 for what was then the capital offence of reading the Bible: he being decapitated, she allegedly buried alive in the square before the cathedral. In 1629 the first centennial of Matsys' death was marked by a ceremony and erection of a relief plaque with an accompanying inscription on the facade of the Antwerp Cathedral. Benefactor Cornelius van der Geest is said to be responsible for the wording, stating: "in his time a smith and afterwards a famous painter", keeping in accordance with the legends surrounding Matsys' humble beginnings.
Matsys' works include A Portrait of an Elderly Man (1513), The Money Changer and His Wife (1514), and A Grotesque Old Woman (1515).
A Grotesque Old Woman (or The Ugly Duchess) is perhaps the best-known of his works. It served as a basis for John Tenniel's depiction of the Duchess in Alice's Adventures in Wonderland. It is likely a depiction of a real person with Paget's disease, though it is sometimes said to be a metaphorical portrait of the Margaret, Countess of Tyrol, who was known as Maultasch, which, though literally translated "satchel mouth", was used to mean "ugly woman" or "whore" (because of her marital scandals). His two large triptych altarpieces The Holy Kinship or Saint Anne Altarpiece (1507–1509) and The Entombment of the Lord (1508–1511) are also highly celebrated. Commissioned for The Church of Saint Peter in Leuven, they reflect strong religious feeling and precise detailing characteristic to the majority of his works.
Quentin's son, Jan Matsys, inherited the art but did not seek to expand upon his father's legacy. The earliest of his works, a St Jerome dated 1537, in the gallery of Vienna, as well as the latest, a Healing of Tobias of 1564, in the museum of Antwerp, are evidence of his tendency to substitute imitation for originality. Another son, Cornelis Matsys, was also a painter. Jan's son, Quentin Metsys the Younger, was an artist of the Tudor court, and painted the Sieve Portrait of Elizabeth I of England.
Near the front of the Cathedral of Our Lady in Antwerp is a wrought-iron well, known as the "Matsys Well," which according to tradition was made by the painter-to-be.
Matsys was regarded as a cult figure during the 17th century in Antwerp in addition to being one of the founders of the local school of painting (which climaxed with the career of Peter Paul Rubens).
The asteroid 9569 Quintenmatsijs was named in his honor.
Quentin Metsys (néerlandais: Quinten Matsijs) (1466-1529) était un peintre dans la tradition flamande et un des fondateurs de l'école d'Anvers. Il est né à Louvain, où légende affirme qu'il a été formé comme un forgeron avant de devenir peintre. Matsys a été actif à Anvers depuis plus de 20 ans, la création de nombreuses œuvres dont les racines rel...|
Quentin Massys (niederländisch: Quinten Matsijs) (1466-1529) war ein Maler in der flämischen Tradition und einer der Gründer der Antwerpener Schule. Er wurde in Leuven, wo der Legende fest, dass er als IronSmith, bevor er zum Maler ausgebildet war geboren. Matsys war in Antwerpen aktiv seit über 20 Jahren, die Schaffung zahlreicher Werke mit religi...|
Quentin Matsys (olandese: Quinten Matsijs) (1466-1529) fu un pittore nella tradizione fiamminga e uno dei fondatori della scuola di Anversa. Era nato a Lovanio, dove leggenda narra che è stato addestrato come un fabbro, prima di diventare un pittore. Matsys fu attivo ad Anversa da oltre 20 anni, la creazione di numerose opere, con radici religiose ...|
Quentin Massys (en holandés: Quinten Matsijs) (desde 1466 hasta 1529) fue un pintor de la tradición flamenca y uno de los fundadores de la escuela de Amberes. él nació en Lovaina, donde leyenda dice que fue entrenado como un herrero antes de convertirse en pintor. Matsys se activa en Amberes durante más de 20 años, creando numerosas obras con raíce...|
Квентин Matsys (Голландский: Quinten Matsijs) (1466-1529) был художником во фламандской традиции и основатель школы Антверпена. Он родился в Левене, где легенда утверждает, что он прошел подготовку в качестве Кузнец, прежде чем стать художником. Matsys принимал активное участие в Антверпен на протяжении более 20 лет, создавая многочисленные произве...|
昆汀：Quinten Matsijs Matsys（荷兰）（1466年至1529年）是一个画家，在佛兰芒传统和安特卫普学校的创始人。他出生在鲁汶，传说国家训练他成为画家之前，作为一个铁匠。 Matsys是活跃在安特卫普超过20年，与宗教根源和讽刺倾向创造的众多作品。 Matsys“生命的最早期的帐户是由主要的传说和当代很少帐户，他的活动或字符的性质存在。据J. Molanus“十年史料Lovaniensium Matsys被称为是一个土生土长作为一个铁匠出身卑微鲁汶。四个孩子之一，Matsys出生Joost的Matsys（卒于1483）和凯瑟琳面包车Kincken间，4月4日和9月10日，1466。联想国家Matsys放弃了他的职业生涯作为一个铁匠来吸引他的妻子，他们发现画的是一个更浪漫的职...|
Quentin Matsys (holandês: Quinten Matsijs) (1466-1529) foi um pintor na tradição flamenga e um dos fundadores da escola de Antuérpia. Ele nasceu em Leuven, onde a lenda afirma que ele foi treinado como um ferreiro antes de se tornar um pintor. Matsys era ativo em Antuérpia por mais de 20 anos, criando inúmeras obras com raízes religiosas e tendênci...|
クエンティンMatsys（オランダ語：Quinten Matsijs）（1466〜1529）は、フランドルの伝統とアントワープの学校の創設者で画家。彼は伝説状態は彼が画家になる前に鉄工として訓練されたルーベン、で生まれた。 Matsysは、宗教的なルーツと風刺的な傾向を持つ数多くの作品を作り、20年以上にわたり、アントワープで活発だった。 Matsys"人生の最も初期のアカウントは、主に伝説で構成され、ほとんどの現代のアカウントは、彼の活動や、文字の性質のために存在している。 J. Molanus"Historiae Lovaniensium Matsysによると、鉄工などの謙虚な始まりとルーベンのネイティブであることが知られている。 4人の子供、Matsysの一つは、4月4、1466年9月...||