256:
197:
147:
31:
277:. His practice was large and lucrative, but never engendered in him either carelessness or neglect. If there be a difference between the painter's earlier and later work, it is that the former was clearer and more delicate in flesh, whilst the latter was often darker and more livid in the shadows. When he died his clients naturally went over to his son Willem, who in turn bequeathed his painting-room to his son Frans. But neither Willem nor
393:
227:, because he had not their delicate perception of harmony or their charming mellowness of touch and tint, and he fell behind Gerard Dou, because he was hard and had not his feeling for effect by concentrated light and shade. In the form of his composition, which sometimes represents the framework of a window enlivened with greenery, and adorned with
246:, in one of his critical essays, justly observes that it is a remarkable production for a youth of twenty-one. In 1657 Mieris was married at Leiden in the presence of Jan Potheuck, a painter, and this is the earliest written record of his existence on which we can implicitly rely. Of the numerous panels by Mieris, at least twenty-nine (such as
166:, a glazier who kept a school of design. From his own father's shop he became familiar with the ways and dress of people of distinction. His eye was fascinated in turn by the sheen of jewelry and stained glass; and, though he soon left Toorenvliet for the workshops of
238:, bears the date of 1650. Celebrated alike for composition and finish, it would prove that Mieris had reached his prime at the age of fifteen. Another beautiful example, the "Doctor Feeling a Lady's Pulse" in the gallery of
214:
The subjects which he treated best are those in which he illustrated the habits or actions of the wealthier classes; but he sometimes succeeded in homely incidents and in portrait, and not infrequently he ventured on
158:, where his father Jan Bastiaans van Mieris was a goldsmith, carver of rubies and diamond setter. His father wished to train him to his own business, but Frans preferred drawing, and studied with
193:
when he started on an independent career, Mieris never ventured to design figures as large as life. Characteristic of his art in its minute proportions is a shiny brightness and metallic polish.
252:) are dated—the latest being an allegory, long in the Ruhl collection at Cologne, illustrating what he considered the kindred vices of drinking, smoking and dicing, in the year 1680.
185:
He seldom chose panels of which the size exceeded 12 to 15 inches, and whenever his name is attached to a picture above that size it is reasonable to assign it to his son
234:
It questionable whether
Houbraken has accurately recorded this master's birthday. One of his best-known pieces, a party of ladies and gentlemen at an oyster luncheon, in the
223:
brought into fashion, and he often rivalled Ter Borch in the faithful rendering of rich and highly coloured woven tissues. But he remained below Ter Borch and
163:
436:
285:
274:
413:
511:
326:, Australia. The 20 by 16 cm (7.9 by 6.3 in) painting had been donated to the Art Gallery of NSW in 1993 by media figure and
408:
565:
255:
368:
550:
464:
440:
319:
560:
545:
270:
555:
278:
248:
135:
263:
499:
356:
204:
196:
243:
437:"Allegorie op de vergankelijkheid - Rijksmuseum Amsterdam - National Museum for Art and History"
520:
171:
460:
508:
398:
One or more of the preceding sentences incorporates text from a publication now in the
540:
535:
476:
8:
480:
284:
The pictures of all the generations of the Mieris family were successfully imitated by
269:
Mieris had numerous and distinguished patrons. He received valuable commissions from
186:
159:
131:
30:
427:
364:
235:
220:
120:
296:. To those who would study his deceptive form of art a visit to the collection of
224:
126:
and portrait painter. The leading member of a Leiden family of painters, his sons
515:
483:
327:
127:
65:
146:
529:
404:
399:
331:
293:
175:
431:
123:
417:. Vol. 18 (11th ed.). Cambridge University Press. p. 425.
231:
within which figures are seen to the waist, his model is certainly Dou.
314:
228:
189:
or to some other imitator. Unlike Dou when he first left
Rembrandt, or
167:
361:
De groote schouburgh der
Nederlantsche konstschilders en schilderessen
297:
190:
179:
504:
216:
208:
289:
108:
323:
301:
239:
155:
61:
262:
by Frans van Mieris sr. (1658) Oil on wood, 31.7 x 24.7 cm.
150:
Young Woman
Stringing Pearls by Frans van Mieris sr. (1658)
36:
The Artist as
Virtuoso at His Easel: Self Portrait, Aged 32
119:(16 April 1635 – 12 March 1681), was a
178:
manner over the
Amsterdam finish of the disciples of
138:(1689–1763) were also accomplished genre painters.
461:"Art Crime Alert: Masterwork Stolen in Australia"
527:
481:'Expert' snatched masterpiece from NSW gallery
219:. He repeatedly painted the satin skirt which
275:Cosimo III de' Medici, Grand Duke of Tuscany
477:Dutch masterpiece snatched from NSW gallery
349:
347:
318:, dated to 1657–1659, was stolen from the
29:
403:
386:
384:
382:
380:
378:
376:
344:
254:
195:
145:
528:
271:Archduke Leopold, the elector-palatine
373:
369:Digital Library for Dutch Literature
292:and was patronized by the court of
13:
467:. Fetched from URL on 19 May 2011.
14:
577:
493:
428:Allegory with boy blowing bubbles
391:
465:Federal Bureau of Investigation
566:Burials at Pieterskerk, Leiden
505:Art Gallery of New South Wales
470:
454:
421:
320:Art Gallery of New South Wales
1:
337:
134:(1662–1747) and his grandson
279:Frans van Mieris the Younger
249:Young Woman Stringing Pearls
141:
136:Frans van Mieris the Younger
7:
264:Staatliches Museum Schwerin
154:Frans was born and died in
10:
582:
357:Frans van Mieris biography
315:A Cavalier (Self Portrait)
281:equalled Frans the elder.
236:Hermitage at St Petersburg
117:Frans van Mieris the Elder
551:Dutch Golden Age painters
500:Selfportrait with cittern
205:National Museum of Serbia
174:, he acquired the Leiden
104:
96:
88:
72:
43:
28:
21:
16:Dutch painter (1635–1681)
307:
304:may afford instruction.
486:, accessed 14 June 2007
414:Encyclopædia Britannica
463:, July 30, 2007, U.S.
266:
260:Woman at a harpsichord
211:
172:Abraham van den Tempel
151:
83:Leiden, Dutch Republic
258:
242:, is dated 1656; and
199:
149:
561:Painters from Leiden
546:Dutch genre painters
521:Works and literature
312:In early June 2007,
556:Dutch male painters
164:Abraham Toorenvliet
514:2010-07-19 at the
367:, courtesy of the
267:
212:
152:
509:collection search
160:Jacob Toorenvliet
114:
113:
573:
487:
474:
468:
458:
452:
451:
449:
448:
439:. Archived from
425:
419:
418:
397:
395:
394:
388:
371:
365:Arnold Houbraken
355:
351:
201:The Music Lesson
130:(1660–1690) and
121:Dutch Golden Age
79:
57:
55:
48:Frans van Mieris
33:
23:Frans van Mieris
19:
18:
581:
580:
576:
575:
574:
572:
571:
570:
526:
525:
516:Wayback Machine
496:
491:
490:
484:ABC News Online
475:
471:
459:
455:
446:
444:
435:
426:
422:
407:, ed. (1911). "
392:
390:
389:
374:
353:
352:
345:
340:
310:
288:, who lived at
144:
84:
81:
77:
68:
59:
53:
51:
50:
49:
39:
24:
17:
12:
11:
5:
579:
569:
568:
563:
558:
553:
548:
543:
538:
524:
523:
518:
502:
495:
494:External links
492:
489:
488:
469:
453:
420:
405:Chisholm, Hugh
372:
342:
341:
339:
336:
328:philanthropist
309:
306:
286:A. D. Snaphaan
143:
140:
112:
111:
106:
102:
101:
98:
97:Known for
94:
93:
90:
86:
85:
82:
80:(aged 45)
74:
70:
69:
66:Dutch Republic
60:
47:
45:
41:
40:
34:
26:
25:
22:
15:
9:
6:
4:
3:
2:
578:
567:
564:
562:
559:
557:
554:
552:
549:
547:
544:
542:
539:
537:
534:
533:
531:
522:
519:
517:
513:
510:
506:
503:
501:
498:
497:
485:
482:
478:
473:
466:
462:
457:
443:on 2011-06-09
442:
438:
433:
429:
424:
416:
415:
410:
406:
401:
400:public domain
387:
385:
383:
381:
379:
377:
370:
366:
362:
358:
350:
348:
343:
335:
333:
332:James Fairfax
329:
325:
321:
317:
316:
305:
303:
299:
295:
294:Anhalt-Dessau
291:
287:
282:
280:
276:
272:
265:
261:
257:
253:
251:
250:
245:
241:
237:
232:
230:
226:
222:
218:
210:
206:
202:
198:
194:
192:
188:
183:
181:
177:
173:
169:
165:
161:
157:
148:
139:
137:
133:
129:
125:
122:
118:
110:
107:
103:
99:
95:
91:
87:
76:12 March 1681
75:
71:
67:
63:
58:16 April 1635
46:
42:
37:
32:
27:
20:
472:
456:
445:. Retrieved
441:the original
434:, Amsterdam
423:
412:
360:
313:
311:
283:
268:
259:
247:
233:
213:
200:
184:
176:fijnschilder
153:
116:
115:
78:(1681-03-12)
35:
541:1681 deaths
536:1635 births
432:Rijksmuseum
229:bas-reliefs
162:'s father,
89:Nationality
530:Categories
447:2009-10-30
363:(1718) by
354:(in Dutch)
338:References
168:Gerard Dou
54:1635-04-16
221:Ter Borch
191:Jan Steen
180:Rembrandt
142:Biography
512:Archived
217:allegory
209:Belgrade
105:Movement
100:Painting
402::
298:Wörlitz
290:Leipzig
109:Baroque
409:Mieris
396:
324:Sydney
302:Dessau
273:, and
244:Waagen
240:Vienna
187:Willem
156:Leiden
132:Willem
62:Leiden
38:(1667)
308:Theft
300:near
225:Metsu
124:genre
92:Dutch
170:and
73:Died
44:Born
411:".
359:in
322:in
128:Jan
532::
507:-
479:;
430:-
375:^
346:^
334:.
330:,
207:,
203:,
182:.
64:,
450:.
56:)
52:(
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
_-_The_Music_Lesson_-_WGA15633.jpg)