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116:, Vienna) was painted by de Crayer in 1627–1628. In addition, from the beginning of his career de Crayer received orders for altarpieces to decorate several churches and monasteries around Brussels. Although he was still living in Brussels, he played a leading role in the coordination of the monumental decorations for the
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Between 1638 and 1648 de Crayer's compositions displayed a lighter tonality and his figures became softer and more sentimental in appearance. This may have been under the influence of the later work of Rubens. His work also showed a trace of the
Venetian 16th-century masters, in particular the art of
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In the 1650s and 1660s, de Crayer's art became more emotionally loaded and more dramatic through the deployment of a relatively large number of figures at various planes within the picture space. In the last period, a lot of work produced by his workshop surfaced and his rich and warm palette became
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style. Typical for this style is the unnatural perspective and the crowding of long wooden figures in the foreground. From 1618 he came under the influence of Rubens. The level of borrowing of motifs from Rubens suggests that he had some form of contract with the workshop of Rubens since he could
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where he produced altarpieces. He had previously established a reputation in Ghent: before 1620 he had regularly completed commissions for various religious and secular institutions of the city and he been given an important role in the execution of the monumental decorations for the
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He operated a large workshop which produced portraits of members of the leading classes in
Brussels as well as a large number of altarpieces for churches in Flanders and abroad including Germany and Spain. He also received in 1647 a commission from Dutch architect
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308:, whose emotionally charged interpretation of religious subjects appealed to his sensibility. His work became more dynamic in conception. He also was influenced by van Dyck's work, which especially in his later work lapsed into pathos.
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in 1635. In 1664 he finally moved to this city where he spent the last five years of his life. In spite of his age, he received numerous important orders for altarpieces. Among the numerous paintings made in Ghent stand out the
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De Crayer's early works include portraits of the kings of Spain and the
Spanish governors and officials who were stationed in the Spanish Netherlands as well as members of the Brussels city council. For example, the
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Gaspar de Crayer mainly painted portraits of the elite and
Counter Reformation altarpieces for local and foreign churches. His early work is in the trend of the 16th century tradition of artists such as
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who at the time enjoyed some fame, but whose work is barely known now. Rather than stay in
Antwerp, he looked for opportunity in the capital Brussels. He is believed to have studied under
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Even while he gained a high social position in
Brussels, de Crayer did not lose contact with his hometown Antwerp. He was in particular a friend and business associate of the art dealer
169:. De Crayer also completed commissions for Spanish patrons, the largest of which was a commission for at least 17 images of saints, possibly destined for the Monastery of St Francis in
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only have seen some models there. The influence is shown in a more monumental rendering of figures in more balanced compositions. Until 1630, de Crayer followed the style of Rubens'
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as the son of
Gaspard de Crayer the Elder, a decorative painter, illuminator and art dealer. His mother Christina van Abshoven or Apshoven descended from a
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in 1607. He was a dean of the Guild from 1611 to 1616 and was a member of the
Brussels city council in 1626–1627. He remained in Brussels until 1664.
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184:(c. 1600–78), who was also his patron and arranged commissions for him. He married Catharina Janssens on 17 February 1613.
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In his large workshop de Crayer trained between 1610 and 1661 a large number of pupils, including presumably
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and worked in the principal cities of
Flanders where he helped spread the
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Hans
Vlieghe. "Crayer, Gaspar de." Grove Art Online. Oxford Art Online
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and portraits. He was a court painter to the governors of the
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Equestrian portrait of Don Diego Messia Felipe de Guzmán
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Name variations: Caspar de Crayer and Gaspard de Crayer
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Gaspar de Crayer In de schaduw van Rubens en Van Dyck
236:Gaspar de Crayer died on 27 January 1669 in Ghent.
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304:After 1630 his work was more influenced by
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65:Gaspar de Crayer was born in
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16:Flemish painter (1584–1669)
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144:Philip IV with court dwarf
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233:and François Monnaville.
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596:Flemish Baroque painters
496:at Gallerie Jan de Maere
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582:at Wikimedia Commons
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590:Categories
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295:receiving
270:Classicist
554:" at the
400:of Christ
382:Augustine
378:Catherine
265:Mannerist
167:The Hague
130:Charles V
490:Archived
374:Dorothea
282:Toulouse
30:van Dyck
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370:Cecilia
348:Descent
332:Gallery
276:(1619,
67:Antwerp
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314:Titian
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171:Burgos
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