Flemish Northern Renaissance Painter, ca.1465-1530,Flemish painter. After studying in Louvain, he moved to Antwerp by 1491, remaining in that city throughout his life. Influences of Italian art, especially of Leonardo da Vinci, may be seen in his work, particularly in the delicate modeling, the subtle nuances of tone, and in the adoption of Leonardo's grotesque head studies for such pictures as The Old Man (Jacquemart-Andre Mus., Paris) and Ugly Duchess (National Gall., London). Massys sought inspiration also in works of earlier Flemish artists, especially of Jan van Eyck. The combined Flemish and Italian influences aided Massys in evolving a calm and measured style, with solid figures and soft textures. He developed a type of portraiture in which the sitter was placed against an appropriate background, as in his painting of St. Erasmus surrounded by books and papers (National Gall., Rome). There are religious subjects and portraits by Massys in the museums of Munich, Brussels, Antwerp, Chicago, and Philadelphia. Quentin's son, Jan Massys, c.1509?C1575, painted satirical and later more elegant works under French influence. Judith (Mus. of Fine Arts, Boston) is characteristic. Another son, Cornelis Massys, d. after 1560, was a landscape painter and engraver.   Related Paintings of Quentin Matsys :. | Madonna and Child with the Lamb. | St John Altarpiece | Matched Marriage | Virgin and Child | Christ on the Cross with Donors |
Related Artists:
Ferencz Franz Eisenhut
1857-1903
Domingo Garcia y Vasquez
painted Ponta do Cavalao - Niteroi in 1883
Jean-Baptiste Deshays
French Baroque Era Painter, 1729-1765 was a French painter of religious and mythological subjects.His first training was under his father, the minor Rouen painter Jean-Dominique Deshays, he then spent a little time under Jean-Baptiste Descamps at his Ecole Gratuite de Dessin. He spent time in Hyacinthe Collin de Vermont's Paris studio from around 1740 to 1749 and Jean Restout II's from late 1749 to 1751. Both these had been pupils of Jean Jouvenet, and painted in the Grand Style of French history painting, a style Deshays adopted as his own. While he was in Restout's studio, Deshays entered the Prix de Rome competition, winning second prize in 1750 with His 1750 Laban Giving his Daughter in Marriage to Jacob won the second prize in the Grand Prix de Rome, and his 1751 Job on the Dung-hill the first prize. Deshays served the compulsory three years training at the Ecole des Eleves Prot??g??s (where he learnt from Carle van Loo, its director, and attracted some religious commissions, including two vast canvases, a Visitation and an Annunciation, for the monastery of the Visitation at Rouen), before going to Rome.