Paul de Vos: Difference between revisions
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'''Paul de Vos''' (1591—1592, or 1595 in [[Hulst]] – 30 June 1678 in [[Antwerp]]) was a Flemish [[Baroque]] painter who specialized in still lifes and animal and hunting scenes.<ref name=gr>[http://www.oxfordartonline.com/subscriber/article/grove/art/T090161pg2 Katlijne Van der Stighelen and Arnout Balis. "Vos, de (i)."] Grove Art Online. Oxford Art Online. Oxford University Press. Web. 9 |
'''Paul de Vos''' (1591—1592, or 1595 in [[Hulst]] – 30 June 1678 in [[Antwerp]]) was a Flemish [[Baroque]] painter who specialized in still lifes and animal and hunting scenes. He was a regular collaborator of leading Antwerp painters such as [[Anthony van Dyck]] and [[Peter Paul Rubens]].<ref name=gr>[http://www.oxfordartonline.com/subscriber/article/grove/art/T090161pg2 Katlijne Van der Stighelen and Arnout Balis. "Vos, de (i)."] Grove Art Online. Oxford Art Online. Oxford University Press. Web. 9 July 2014</ref> |
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==Life== |
==Life== |
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De Vos was born in Hulst near Antwerp, now in the Dutch province of [[Zeeland]]. Like his older brother [[Cornelis de Vos|Cornelis]] and younger brother Jan, he studied under the little-known painter [[David Remeeus]] (1559–1626).<ref name=rk>[http://www.rkd.nl/rkddb/dispatcher.aspx?action=search&database=ChoiceArtists&search=priref=81925 Paul de Vos] at the [[Netherlands Institute for Art History]]</ref> De Vos became a master and joined the [[guild of St. Luke]] at a late age in 1620, probably because he had initially worked in the workshop of his brother-in-law [[Frans Snyders]], the husband of his sister Margaretha. |
De Vos was born in Hulst near Antwerp, now in the Dutch province of [[Zeeland]]. Like his older brother [[Cornelis de Vos|Cornelis]] and younger brother Jan, he studied under the little-known painter [[David Remeeus]] (1559–1626).<ref name=rk>[http://www.rkd.nl/rkddb/dispatcher.aspx?action=search&database=ChoiceArtists&search=priref=81925 Paul de Vos] at the [[Netherlands Institute for Art History]]</ref> De Vos became a master and joined the [[guild of St. Luke]] at a late age in 1620, probably because he had initially worked in the workshop of his brother-in-law [[Frans Snyders]], the husband of his sister Margaretha. |
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[[File:Paul de Vos - Cats Fighting in a Larder.jpg|thumb|300px|left|Cats fighting in a larder]] |
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Paul de Vos married Isabella Waerbeek, a notary’s daughter, on 15 Nov 1624 and the couple had 10 children.<ref name=gr/> [[Peter Paul Rubens]] was the godfather of one of their sons named Peter Paul born in 1628. The de Vos family prospered and were able to make important investments in real estate in Antwerp.<ref name=sut>Peter C. Sutton, Northern European Paintings in the Philadelphia Museum of Art: From the Sixteenth and the Nineteenth Century, Philadelphia Museum Of Art, 1 January 2000, p. 346-349</ref> |
Paul de Vos married Isabella Waerbeek, a notary’s daughter, on 15 Nov 1624 and the couple had 10 children.<ref name=gr/> [[Peter Paul Rubens]] was the godfather of one of their sons named Peter Paul born in 1628. The de Vos family prospered and were able to make important investments in real estate in Antwerp.<ref name=sut>Peter C. Sutton, Northern European Paintings in the Philadelphia Museum of Art: From the Sixteenth and the Nineteenth Century, Philadelphia Museum Of Art, 1 January 2000, p. 346-349</ref> |
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==Work== |
==Work== |
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[[File:Paul de Vos |
[[File:Paul de Vos, Jan Wildens - Paradise.jpg|thumb|300px|Paradise]] |
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He often signed his paintings but never dated them which makes it difficult to establish a precise chronology. He painted scenes of pantries, quarrelling dogs, bird concerts and animal fights.<ref name=gr/> He specialized in monumental animal scenes, especially hunts for aristocratic patrons, that are heavily influenced by Frans Snyders. In the past, a lot of his works have been misattributed to Snyders.<ref name=sut/> De Vos was able to develop his own personal style that accentuated abrupt movement, the gruesome aspects of hunts, used warmer colours and a broader brush stroke than Snyders.<ref name=gr/> |
He often signed his paintings but never dated them which makes it difficult to establish a precise chronology. He painted scenes of pantries, quarrelling dogs, bird concerts and animal fights.<ref name=gr/> He specialized in monumental animal scenes, especially hunts for aristocratic patrons, that are heavily influenced by Frans Snyders. In the past, a lot of his works have been misattributed to Snyders.<ref name=sut/> De Vos was able to develop his own personal style that accentuated abrupt movement, the gruesome aspects of hunts, used warmer colours and a broader brush stroke than Snyders.<ref name=gr/> |
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As was common amongst artists in Antwerp, De Vos frequently collaborated with other painters. He collaborated with Rubens, [[Anthony van Dyck]] (''Rest on the Flight into Egypt''; [[Hermitage Museum]], St. Petersburg), [[Erasmus Quellinus II]], [[Thomas Willeboirts Bosschaert]], [[Adriaen van Utrecht]] and [[Jan Wildens]]. De Vos would typically contribute the animals or still-life elements to the compositions of these painters or would ask landscape specialists such as Jan Wildens to add landscapes to his creations.<ref name=chris/> An example of a collaboration with Jan Wildens is the composition ''[[:File:Paul de Vos, Jan Wildens - Paradise.jpg|Paradise]]'' ([[Kunsthistorisches Museum]], Vienna), which resembles the paradise paintings created by [[Jan Brueghel the Elder]]. |
As was common amongst artists in Antwerp, De Vos frequently collaborated with other painters. He collaborated with Rubens, [[Anthony van Dyck]] (''Rest on the Flight into Egypt''; [[Hermitage Museum]], St. Petersburg), [[Erasmus Quellinus II]], [[Thomas Willeboirts Bosschaert]], [[Adriaen van Utrecht]] and [[Jan Wildens]]. De Vos would typically contribute the animals or still-life elements to the compositions of these painters or would ask landscape specialists such as Jan Wildens to add landscapes to his creations.<ref name=chris/> An example of a collaboration with Jan Wildens is the composition ''[[:File:Paul de Vos, Jan Wildens - Paradise.jpg|Paradise]]'' ([[Kunsthistorisches Museum]], Vienna), which resembles the paradise paintings created by [[Jan Brueghel the Elder]]. |
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[[File:Paul de Vos |
[[File:Paul de Vos - Still Life with Servant - Google Art Project.jpg|thumb|left|300px|Still life with servant]] |
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His collaborations with Rubens consisted mainly of hunting scenes.<ref name=gr/> One art historian has compared Paul de Vos' contributions to Rubens' hunting scenes with those of Paul Snyders' and found de Vos to be less accurate in the animal anatomy and less accomplished in the psychological expression of the animals. Other art historians regard the hunting scenes of de Vos as more dynamic and evidencing a more personal style when compared with those of Snyders, who was more a still life painter. In their collaboration with Rubens, Snyders and de Vos often worked from sketches made by Rubens while in other cases they were given the freedom to develop their own ideas. The expressive style and motifs of Rubens' animal paintings had an important influence on both Snyders and de Vos.<ref>Arnout Balis, Rubens hunting scenes, Part 18, Harvey Miller, 5 Mar, 1987, p. 70-87</ref> |
His collaborations with Rubens consisted mainly of hunting scenes.<ref name=gr/> He was an important contributor on the series of hunting scenes designed by Rubens in the period 1636-1638 for the hunting pavilion [[Torre de la Parada]] of the Spanish king [[Philip IV of Spain|Philip IV]] near Madrid. Many of these are now in the [[Museo del Prado|Prado museum]].<ref>Svetlana Alpers, 'The decoration of the Torre de la Parada', Phaidon, 1971, p. 144</ref> One art historian has compared Paul de Vos' contributions to Rubens' hunting scenes with those of Paul Snyders' and found de Vos to be less accurate in the animal anatomy and less accomplished in the psychological expression of the animals. Other art historians regard the hunting scenes of de Vos as more dynamic and evidencing a more personal style when compared with those of Snyders, who was more a still life painter. In their collaboration with Rubens, Snyders and de Vos often worked from sketches made by Rubens while in other cases they were given the freedom to develop their own ideas. The expressive style and motifs of Rubens' animal paintings had an important influence on both Snyders and de Vos.<ref>Arnout Balis, Rubens hunting scenes, Part 18, Harvey Miller, 5 Mar, 1987, p. 70-87</ref> |
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De Vos introduced new motifs into the iconographic tradition in his scenes of fighting cats and horses attacked by wolves.<ref name=gr/> |
De Vos introduced new motifs into the iconographic tradition in his scenes of fighting cats and horses attacked by wolves.<ref name=gr/> |
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==External links == |
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Revision as of 07:10, 28 March 2016
Paul de Vos (1591—1592, or 1595 in Hulst – 30 June 1678 in Antwerp) was a Flemish Baroque painter who specialized in still lifes and animal and hunting scenes. He was a regular collaborator of leading Antwerp painters such as Anthony van Dyck and Peter Paul Rubens.[1]
Life
De Vos was born in Hulst near Antwerp, now in the Dutch province of Zeeland. Like his older brother Cornelis and younger brother Jan, he studied under the little-known painter David Remeeus (1559–1626).[2] De Vos became a master and joined the guild of St. Luke at a late age in 1620, probably because he had initially worked in the workshop of his brother-in-law Frans Snyders, the husband of his sister Margaretha.
Paul de Vos married Isabella Waerbeek, a notary’s daughter, on 15 Nov 1624 and the couple had 10 children.[1] Peter Paul Rubens was the godfather of one of their sons named Peter Paul born in 1628. The de Vos family prospered and were able to make important investments in real estate in Antwerp.[3]
De Vos enjoyed the patronage of influential aristocrats in Spain such as the marquis the Leganes, head of the Council of Flanders in Madrid and Philippe-Charles, 3rd Count of Arenberg, then residing in Madrid.[3] From the latter he obtained a commission to paint at least 36 paintings of birds, hunts and fables between 1633 and 1640.[4] In 1637-1638 he worked on the decorations for the Spanish royal residences, Buen Retiro and Torre de la Parada. Most of the decorations at the Torre de la Parada involving animal scenes without humans were by his hand. The governor of the Governor of the Spanish Netherlands Cardinal-Infante Ferdinand visited his workshop.[3]
He had two pupils: Alex Daempt in 1627 and Lancelot van Daelen in 1636.[2]
Work
He often signed his paintings but never dated them which makes it difficult to establish a precise chronology. He painted scenes of pantries, quarrelling dogs, bird concerts and animal fights.[1] He specialized in monumental animal scenes, especially hunts for aristocratic patrons, that are heavily influenced by Frans Snyders. In the past, a lot of his works have been misattributed to Snyders.[3] De Vos was able to develop his own personal style that accentuated abrupt movement, the gruesome aspects of hunts, used warmer colours and a broader brush stroke than Snyders.[1]
As was common amongst artists in Antwerp, De Vos frequently collaborated with other painters. He collaborated with Rubens, Anthony van Dyck (Rest on the Flight into Egypt; Hermitage Museum, St. Petersburg), Erasmus Quellinus II, Thomas Willeboirts Bosschaert, Adriaen van Utrecht and Jan Wildens. De Vos would typically contribute the animals or still-life elements to the compositions of these painters or would ask landscape specialists such as Jan Wildens to add landscapes to his creations.[4] An example of a collaboration with Jan Wildens is the composition Paradise (Kunsthistorisches Museum, Vienna), which resembles the paradise paintings created by Jan Brueghel the Elder.
His collaborations with Rubens consisted mainly of hunting scenes.[1] He was an important contributor on the series of hunting scenes designed by Rubens in the period 1636-1638 for the hunting pavilion Torre de la Parada of the Spanish king Philip IV near Madrid. Many of these are now in the Prado museum.[5] One art historian has compared Paul de Vos' contributions to Rubens' hunting scenes with those of Paul Snyders' and found de Vos to be less accurate in the animal anatomy and less accomplished in the psychological expression of the animals. Other art historians regard the hunting scenes of de Vos as more dynamic and evidencing a more personal style when compared with those of Snyders, who was more a still life painter. In their collaboration with Rubens, Snyders and de Vos often worked from sketches made by Rubens while in other cases they were given the freedom to develop their own ideas. The expressive style and motifs of Rubens' animal paintings had an important influence on both Snyders and de Vos.[6]
De Vos introduced new motifs into the iconographic tradition in his scenes of fighting cats and horses attacked by wolves.[1]
References
- ^ a b c d e f Katlijne Van der Stighelen and Arnout Balis. "Vos, de (i)." Grove Art Online. Oxford Art Online. Oxford University Press. Web. 9 July 2014
- ^ a b Paul de Vos at the Netherlands Institute for Art History
- ^ a b c d Peter C. Sutton, Northern European Paintings in the Philadelphia Museum of Art: From the Sixteenth and the Nineteenth Century, Philadelphia Museum Of Art, 1 January 2000, p. 346-349
- ^ a b Paul de Vos (Hulst 1591/5-1678 Antwerp), Three dogs playing, with songbirds on the floor at Christie's
- ^ Svetlana Alpers, 'The decoration of the Torre de la Parada', Phaidon, 1971, p. 144
- ^ Arnout Balis, Rubens hunting scenes, Part 18, Harvey Miller, 5 Mar, 1987, p. 70-87
External links
Media related to Paul de Vos at Wikimedia Commons
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