Flemish painting and De Jonckheere Gallery's old master paintings

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Alsloot (van) Denis (0)Ast (van der) Balthazar (1)Avercamp Hendrick (1)Balen (van) Hendrick (0)Balten Pieter (2)Beert Osias (2)Beert the Younger Osias (1)Berghe (van den) Christoffel (1)Bison Giuseppe Bernardino (6)Boeyermans Theodor (1)Bol Hans (2)Bosschaert Johannes (1)Bout Pieter (0)Bouttats Jacob (1)Bredael (van) Josef (3)Breen (van) Adam (2)Brueghel Pieter III Pieter (1)Brueghel the Younger Pieter (10)Brueghel the Younger Jan (5)Brueghel the Elder Jan (4)Bruyn Bartholomeus (1)Caulery (de) Louis (2)Cleve (van) Hendrick (0)Cleve (van) Maerten (2)Clouet François (1)Coeck van Aelst Pieter (1)Coffermans Marcellus (0)Collier Edwaert (1)Corneille de Lyon (5)Craen Laurens (1)Cranach the Younger Lucas (1)Cranach the Elder Lucas (8)David Gerard (1)Duck Jacob (1)German school (2)Flegel Georg (1)Francken the younger Frans (1)Garnier François (1)Gassel Lucas (2)Gysels Peter (4)Gillis Nicolas (1)Goderis Hans (1)Govaerts Abraham (1)Grimmer Abel (10)Grimmer Jacob (3)Guardi Francesco (2)Heem (de) Cornelis (1)Heemskerck (van) Maarten (1)Hoefnagel Jacob (1)Huys Pieter (1)Janssens Abraham (2)Kessel the Elder (van) Jan (8)Kessel (van) Pseudo (1)Key Willem (1)Lanen (van der) Gaspar (1)Leytens Gijsbrecht (1)Mahu Cornelis (1)Master of the parrot (1)Master of 1540 (1)Master of Frankfurt (1)Master of The Legend of St. Magdalena (0)Master of the Legend of Saint Ursula (1)Master of the Half-Length Figures (2)Master of the Prodigal Son (1)Master of the portrait of Andreas Hertwig (1)Mander (van) Karel (1)Mandjin Jan (2)Marieschi Michele (1)Massys Jan (1)Met de Bles Herri (4)Mirou Antoine (1)Moillon Louise (1)Momper (de) Joost (2)The Monogrammist of Brunswick (2)Neefs Pieter (1)Nevele (van) Nicolas (1)Noort (van) Lambert (1)Oosten (van) Isaac (2)Orley (van) Barend (1)Patenier Joachim (1)Peeters Clara (0)Pencz Georg (1)Pourbus the Younger Franz (2)Reymerswael (van) Marinus (1)Rijckaert Martin (5)Rottenhammer Hans (0)Ruthart Carl Borromäus Andreas (1)Ryckaert David (0)Sallaert Antoon (1)Savery Roelandt (1)Savery the elder Jacob (1)Schoevaerts Mathys (1)Schoubroeck Pieter (1)Seghers Daniel (1)Sittow Michel (0)Snyders Frans (0)Snyers Pieter (1)Son (van) Joris (1)Soreau Isaac (0)Stalbempt (van) Adriaen (4)Steenwijck the Younger (van) Hendrick (1)Stockt (van der) Vrancke (1)Sweerts Jeronimus (1)Teniers David (5)Tironi Francesco (1)Valckenborch (van) Lucas (3)Valckenborch (van) Martin (1)Valckenborch (van) Frederick (1)Velde (van de) Anthonie (1)Verhaecht Tobias (0)Verstalen Antonie (1)Vos (de) Martin (1)Vrancx Sebastien (2)Vredeman de Vries Hans (1)Wechelen (van) Hans (1)Wellens de Cock Jan (1)Wildens Jan (1)

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Frans Snyders

1579 – Antwerp – 1657

 

Born in Antwerp in 1579, Frans Snyders entered the studio of Pieter Brueghel II as an apprentice in 1593, then that of Hendrick van Balen before being appointed Master of the Guild of Antwerp in 1602. From 1608 to 1609, he travelled round Italy, stopping first in Rome and then Milan, where he was welcomed by Cardinal Borromeo, to whom he had been recommended in a letter from Jan Bruehel I, announcing the forthcoming arrival of his friend.

 

In 1611, he married Margueretha de Vos, sister of the painters Cornelis and Paul. He became a member of the Society of Romanists in Antwerp in 1618, and was made dean in 1619. It was upon his return from Italy in 1609 that he decided to dedicate himself to still lifes. His fame and success was so rapid that it quickly exceeded the borders of his country, as proven by Philip IV of Spain’s commissions for the ‘Torre de la Parada’ or those of Archduke Leopold Wilhelm. He made an essential contribution to the development of still life painting.

 

Around 1610, under the influence of Rubens – who became his friend and for whom he worked between 1611 and 1619 – and with the experience he gained in Italy, he participated in a fundamental renewal of this art form and the formulas inherited from P. Aertsen and J. Beuckelaer. In his paintings, he established an innovative rich, decorative style never used until then. Calm and regular compositions, dominated by simple but well-structured geometric patterns, sought to solve the problem of relationships between sumptuously arranged volumes. Most often intended for private collections, his smaller paintings are dominated by a vigorous and precise technique that tends towards an almost illusionist realism, while intensifying the volumes and a vitality rarely achieved in painting.

 

Few people directly copied this painter, who was also one of the most brilliant Flemish colourists of the 17th century. Nevertheless, he had a lasting influence on his contemporaries as well as the whole of French 18th century painting.

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