Page:Cyclopedia of painters and paintings (IA cyclopediaofpain04cham).pdf/277
- scape, but occasionally biblical and mythological
subjects; his earlier works are heavy in tone and crude in colour, while in his later pictures he approached, in freedom of treatment and harmony of colour, the manner of his famous son. Works: Rocky Landscape, Conversation, Playing at Bowls, National Gallery, London; Christ on Mount of Olives, Seven Works of Mercy, St. Paul's, Antwerp; Transfiguration (1615), Church at Dendermonde; Landscape, Brussels Museum; do. with Castle, Brunswick Gallery; Bleachery, Interior of Peasant Room, Bamberg Gallery; Temptation of St. Anthony, Berlin Museum; Peasant's Frolic by a Tavern, Cassel Gallery; do., Darmstadt Museum; Dutch Kirmess (2), Landscapes (4), Dutch Bleachery, Dresden Gallery; Smoker and Tippler, Ferdinandeum, Innsbruck; Rocky Ravine with Figures, Peasant carrying a Pole, Old Pinakothek, Munich; Tavern Interior, Oldenburg Gallery; Temptation of St. Anthony, Gypsy Women in a Ravine, Schwerin Gallery; Smoking Room (2), Stockholm Museum; A Painter at his Easel (1641), Two Landscapes, Hermitage, St. Petersburg; Pan with Nymphs and Satyrs, Vertumnus outwitting Pomona, Juno demanding Io of Jupiter, Mercury putting Argus to Sleep (1638), Landscapes (4), Vienna Museum; Physician with a Bottle, Uffizi, Florence; Temptation of St. Anthony, Dutch Kitchen, New York Museum.—F. J. van den Branden, 752; Ch. Blanc, École flamande; Immerzeel, iii. 130; Kramm, vi. 1608; vii. 145; Michiels, vii. 428; Rooses (Reber), 385; Van den Branden, 750.
TENIERS, DAVID, the younger, born
in Antwerp, baptized Dec. 15, 1610, died at
Perck, near Brussels, April 25, 1690. Flemish
school; genre, landscape, and portrait
painter, son and pupil of David the elder;
developed under the influence of Rubens,
and especially of Brouwer. Master of Antwerp
guild in 1632, its dean in 1644-45, was
made court painter to Archduke Leopold
Wilhelm, governor of the Netherlands, and
settled, between 1648 and 1652, in Brussels,
where he was received into the guild
in 1675. He
was the prime
mover in the
foundation of
the Antwerp
Academy in
1663. Equally
favoured by
Leopold Wilhelm's
successor,
Don
Juan of Austria, who is said to have studied
under him; he received important commissions
from Philip IV. of Spain, and marks
of esteem from Queen Christina of Sweden
and the great in England and other countries.
The Count of Fuensaldaña sent him
to England to buy works by the Italian
masters. He holds the first position among
the genre painters of Flanders. Picturesque
arrangement, exquisite harmony of colouring
in all details, and a light and sparkling
touch characterize his pictures, in which
two periods may be distinguished—the earlier,
up to 1640, in which a somewhat heavy
brown tone prevails, gradually attaining, up
to 1644, a luminous golden tone, and the
later, up to 1660, in which he changed into
a cool silvery hue; after that he again
adopted a decided golden tone. In 1660
he published in Brussels a work containing
about 200 engravings of pictures of the
Italian and Flemish schools in the Archduke's
gallery, executed from small copies
made by himself from the originals. Of
these copies 120 were sold in the Blenheim
Palace sale (1886) for £2,002 10s. Works:
Music Party, Boors Regaling, The Moneychangers,
Players at Tric-Trac, eleven others,
National Gallery, London; Boors Dancing
(1645), Frolic in Village Courtyard
(1649), Detachment of Civic Guard (1657),
seven others, Buckingham Palace, ib.; Alchemist,
Village Festival, five others, Bridgewater
Gallery, ib.; Landscape (1649), Farmer's
Family, two others, Grosvenor Gallery,