Frans Floris: Difference between revisions
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'''Frans Floris''', or more correctly '''Frans de Vriendt''', called '''Floris''' ([[1517]] - [[October 1]], [[1570]]), [[Flemings|Flemish]] [[painter]], was one of a large family trained to the study of art in [[Flanders]]. |
'''Frans Floris''', or more correctly '''Frans de Vriendt''', called '''Floris''' ([[1517]] - [[October 1]], [[1570]]), [[Flemings|Flemish]] [[painter]], was one of a large family trained to the study of art in [[Flanders]]. |
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Son of the stonecutter Cornelis I de Vriendt, who died at [[Antwerp]] in [[1538]], he began life as a student of sculpture, but afterwards gave up carving for painting. His brother, [[Cornelis Floris de Vriendt|Cornelis II de Vriendt]] (c. 1513/14—1575), was an architect and sculptor. At the age of twenty he went to Liege and took lessons from [[Lambert Lombard]], |
Son of the stonecutter Cornelis I de Vriendt, who died at [[Antwerp]] in [[1538]], he began life as a student of sculpture, but afterwards gave up carving for painting. His brother, [[Cornelis Floris de Vriendt|Cornelis II de Vriendt]] (c. 1513/14—1575), was an architect and sculptor. At the age of twenty he went to Liege and took lessons from [[Lambert Lombard]], who highly encouraged studying in Italy. |
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| ⚫ | Floris in his turn wandered across the Alps and quickly became enamored with the painting (particularly [[Michelangelo]]) he found in Rome and the colors he found in Venice. Upon his return home, he opened a workshop on the Italian model from which 120 disciples are stated to have issued. Floris painted series of large pictures for the country houses of Spanish nobles and the villas of Antwerp patricians. He is known to have illustrated the fable of [[Hercules]] in ten compositions, and the liberal arts in seven for Nicolaas Jongelinck, a merchant of Antwerp, and adorned the duke of Arschot's palace of Beaumont with fourteen colossal panels. |
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Following in the footsteps of Mabuse, Lambert Lombard had visited [[Florence]], and caught the manner of [[Francesco Salviati|Salviati]] and other pupils of [[Michelangelo]] and [[Andrea del Sarto|Del Sarto]]. It was about the time when [[Jan van Scorel|Van Scorel]], [[Michael Coxcie|Coxcie]] and [[Marten Jacobszoon Heemskerk van Veen|Heemskerk]], after migrating to Rome and imitating the masterpieces of [[Raphael]] and [[Michelangelo Buonarroti|Buonarroti]], came home to execute Dutch-Italian works beneath the level of those produced in the peninsula itself by [[Leonardo da Pistoia]], [[Nanaccio]] and [[Rinaldo of Mantua]]. |
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| ⚫ | Comparatively few of his works have descended to us, partly because many were destroyed in the iconoclastic uprisings of the second half of the [[sixteenth century]], and partly because this era in Flemish painting has fallen out of favor in art circles. The earliest extant canvas by Floris is the ''Mars and Venus ensnared by Vulcan'' in the Berlin Museum (1547). There are other works at [[Aalst]], Antwerp, [[Copenhagen]], [[Dresden]], [[Florence]], [[Zoutleeuw|Léau]], [[Madrid]], [[St Petersburg]] and [[Vienna]]. |
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| ⚫ | The boldness and force Floris's works possess reflect the monumental style of their Italian models. Their technical execution reveals a rapid hand, bright coloring, and a mastery of anatomy not always evident in Netherlandish art of the time. Floris owed much of his repute to the cleverness with which his works were transferred to copper by [[Jerome Cock]], [[Cornelis Cort]], and [[Theodore de Galle]]. Whilst Floris was engaged on a Crucifixion of 27 ft., and a [[Resurrection]] of equal size, for the grand prior of Spain, he was seized with illness, and died on the 1st of October 1570 at Antwerp. |
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| ⚫ | Comparatively few of his works have descended to us, partly because |
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{{1911}} |
{{1911}} |
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Revision as of 22:36, 15 April 2007
Frans Floris, or more correctly Frans de Vriendt, called Floris (1517 - October 1, 1570), Flemish painter, was one of a large family trained to the study of art in Flanders.
Son of the stonecutter Cornelis I de Vriendt, who died at Antwerp in 1538, he began life as a student of sculpture, but afterwards gave up carving for painting. His brother, Cornelis II de Vriendt (c. 1513/14—1575), was an architect and sculptor. At the age of twenty he went to Liege and took lessons from Lambert Lombard, who highly encouraged studying in Italy.
Floris in his turn wandered across the Alps and quickly became enamored with the painting (particularly Michelangelo) he found in Rome and the colors he found in Venice. Upon his return home, he opened a workshop on the Italian model from which 120 disciples are stated to have issued. Floris painted series of large pictures for the country houses of Spanish nobles and the villas of Antwerp patricians. He is known to have illustrated the fable of Hercules in ten compositions, and the liberal arts in seven for Nicolaas Jongelinck, a merchant of Antwerp, and adorned the duke of Arschot's palace of Beaumont with fourteen colossal panels.
Comparatively few of his works have descended to us, partly because many were destroyed in the iconoclastic uprisings of the second half of the sixteenth century, and partly because this era in Flemish painting has fallen out of favor in art circles. The earliest extant canvas by Floris is the Mars and Venus ensnared by Vulcan in the Berlin Museum (1547). There are other works at Aalst, Antwerp, Copenhagen, Dresden, Florence, Léau, Madrid, St Petersburg and Vienna.
The boldness and force Floris's works possess reflect the monumental style of their Italian models. Their technical execution reveals a rapid hand, bright coloring, and a mastery of anatomy not always evident in Netherlandish art of the time. Floris owed much of his repute to the cleverness with which his works were transferred to copper by Jerome Cock, Cornelis Cort, and Theodore de Galle. Whilst Floris was engaged on a Crucifixion of 27 ft., and a Resurrection of equal size, for the grand prior of Spain, he was seized with illness, and died on the 1st of October 1570 at Antwerp.
This article incorporates text from a publication now in the public domain: Chisholm, Hugh, ed. (1911). Encyclopædia Britannica (11th ed.). Cambridge University Press. {{cite encyclopedia}}: Missing or empty |title= (help)
