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108:"JB", presumably for Joos van der Beke, rather inconspicuously placed. In three other works a self-portrait is placed among the minor figures. From the seventeenth to the nineteenth centuries, the name of Joos van Cleve as an artist was lost. Some of the paintings now attributed to Joos van Cleve were, at that time, known as the works of the "Master of the Death of the Virgin", after the triptych in the
175:. He was co-deacon of the guild for several years around 1520, along with registering pupils there at various dates between 1516 and 1536. In 1528 he bought a house from his wife's parents. As there are no records of his being in Antwerp between 1529 and 1534, it is possible he spent some of this time in Italy or France at the court, or even London.
527:
on 21 and 29 October 1532, which Joos might possibly have witnessed. Other historians have proposed the alternative view that van Cleve based the Henry VIII portrait on that of
Francis I without meeting the English king. He may have hoped that this gesture might earn him English royal commissions in
84:
of
Antwerp, he is known mostly for his religious works and portraits, some of royalty. He ran a large workshop, with at least five pupils and other assistants, which produced paintings in a variety of styles over his career. As a skilled technician, his art shows sensitivity to color and a unique
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and another sold at
Sotheby's on 30 January 2014. It is full of charm and tenderness and was popular in his own time as well as with later collectors. The composition shows the Virgin with a brilliant red cloak, lined with fur and elaborately embroidered with pearls along the outside edge. The
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Paintings of Saint Jerome were produced by Joos and his workshop, apparently beginning in 1521, in three basic types: penitent amid a desert landscape, with his attribute of a lion; at bust or half-length in a cluttered study, often with a skull on his desk; and lastly in his study, naked to the
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Virgin is seated in a loggia-like space with open windows through which a distant mountainous landscape is visible. She has her lips parted in a slight smile while she helps the Christ Child drink from a glass with red wine, a symbol of Christ's future suffering and blood and the
186:
He had two children from his first marriage, a daughter and a son. His son named
Cornelis (1520) became a painter. Although the date of his death is unknown, Joos van Cleve drew up a will and testament on 10 November 1540, and his second wife was listed as a widow in April 1541.
518:
of
England is of comparable size to that of Francis I (72.1 x 59.2 cm) and the compositions and costumes in both portraits are similar. Some historians have interpreted this as evidence that the portraits were pendants painted to commemorate the meeting of the two kings in
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has been lost, but the type can be recovered through the numerous replicas produced by his workshop and copyists. Most of these were no doubt produced with no specific commission, with many distributed by agents and dealers across Europe, for the houses of the wealthy.
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triptych composition by him and his workshop are known, though varying considerably in size, with the widths of the centre panel ranging from 56 to 93 cm. This probably reflected different intended sites for the paintings, from private house chapels to churches.
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attributed to the workshop. In other works the identity of local saints gives clues. Antwerp was the centre of
European trade in the period, and the Antwerp merchant class was highly cosmopolitan. Five paintings can be linked with Italy, especially
147:
Joos van Cleve was born around 1485–90. The birthplace of Joos van Cleve is not precisely known. In various
Antwerp legal documents he is referred to as 'Joos van der Beke alias van Cleve'. It is therefore likely that he came from the
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details, and added Saint Joseph over the Virgin's shoulder. The wine and fruits on the foreground are a reference to Christ's incarnation and future sacrifice. They also hint at the emerging genre of still-life painting in
Flanders.
920:
791:; the last, from the 1520s onwards, is an unusual combination of a figure type usually seen outdoors with the indoors study setting. In some versions of this type there are inscriptions referring to the
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Triptych. Centre: the
Deposition from the Cross; Left wing: St John the Baptist with a Donor; Right wing: St Margaret of Antioch with a Donatrix (1518–1519), National Galleries Scotland, Edinburgh
795:. Various inscriptions in the second type, usually on the back wall, also exhort thoughts of death and judgement. The last type is probably known only from numerous workshop or later versions.
116:. In 1894 it was discovered that the monogram on the back of the triptych was that of Joos van der Beke, the real name of Joos van Cleve. His oeuvre was reconstructed in the 1920s and 1930s by
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131:(1520–1567) who also became a painter, and inherited the workshop. Cornelis became mentally ill during a residence in England and was therefore referred to as 'Sotte Cleef' (mad Cleef).
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between 1507 and 1511 since his painting style is similar to that of the painters of Bruges. Later he moved to
Antwerp, and in 1511 became a free master in the Antwerp
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614:. Characteristic of Netherlandish painting of this period are the jewel-like colours and the details of the Virgin's costume and brocade pillow in the foreground.
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771:'s nine-volume set of his works, prefaced with a biography, in 1516, and the general increased interest in the text of the Bible. Jerome had compiled the
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156:(in traditional English "Cleves"), from which his name is derived. It is assumed that he began his artistic training around 1505 in the workshop of
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The Holy Family was a newly popular subject in small devotional paintings, reflecting increased theological and devotional interest in the role of
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Triptych. Centre: the Deposition from the Cross; Left wing: St John the Baptist with a Donor; Right wing: St Margaret of Antioch with a Donatrix
164:, Lower Rhine, Germany, from 1506 to 1509. These include one of his self-portraits. From this a birth date of about 1485 to 1490 is inferred.
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455:. A strong influence of Italian art combined with Joos van Cleve's own color and light sensitivity make his works especially unique. The "
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were the bread and butter work of early 15th century painting workshops, and Joos van Cleve produced many different types of the
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A new devotional type of the Virgin alone, her hands clasped in prayer, also appears in many versions. This may be called a
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in Germany, and four to various Netherlandish cities. Others have the arms of his homeland Mark-Cleves, the territories of
124:. Now over 300 works are generally attributed to him or his workshop, which vary considerably in both quality and style.
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There are a number of other "van Cleef" Antwerp painters recorded from his time, some of whom may have been relatives.
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John Oliver Hand. "Cleve, van (i)." Grove Art Online. Oxford Art Online. Oxford University Press. Web. 25 March 2015
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From surviving documents it is clear that he was alive in Antwerp on 10 November 1540 and dead by 4 February 1541.
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The great majority of his work is religious subjects or portraits, with the main exceptions being versions of the
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Joos van Cleve's skills as a portrait artist were highly regarded as demonstrated by a summons to the court of
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Leeflang, Micha. "Joos Van Cleve's "Adoration of the Magi" in Detroit: Revealing the Underdrawing,"
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160:, whom he assisted in the panel paintings of the wings for the high altar of the Nikolaikirche in
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579:. One of the earliest examples of the new type is the painting by Joos dated to c. 1512 at the
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solidarity of figures. His style is highly eclectic: he was one of the first to introduce broad
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The influence of Kalkar and Bruges are seen in many of Joos van Cleve's early works, such as
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Compositions were often copied, repeated or adapted; for example at least six versions of an
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443:(1520) shows the combined influence of several artists. It has the intense emotionality of
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470:, a fellow artist active in Antwerp, Joos van Cleve appropriated themes and techniques of
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waist and holding a rock. The first two are not original, and borrow in particular from
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463:. It is thought that the "Antwerp Mannerists" were in turn influenced by Joos van Cleve.
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Another of the many compositional types exists in very similar versions, one in the
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305:. The painting had once been the left-hand door of a folding altarpiece triptych.
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The fifteenth century Netherlandish paintings : National Gallery catalogues
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988:(1528), Vassar College, Frances Lehman Loeb Art Center, Poughkeepsie, New York
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from his arrival there around 1511 until his death in 1540 or 1541. Within
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49, no. 2 (1990): 3–10. Accessed January 4, 2021. doi:10.2307/3774675,
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became increasingly of interest and popular after the publication of
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Hand, John Oliver. ""Saint Jerome in His Study" by Joos Van Cleve."
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in the backgrounds of his paintings, sometimes collaborating with
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with influences of more contemporary Renaissance painting styles.
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in Brighton, uncovered a work of Joos van Cleve, a portrayal of
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The John G. Johnson Collection: A History and Selected Works
65:; c. 1485–1490 – 1540/1541) was a leading painter active in
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1459:. A Philadelphia Museum of Art free digital publication.
1398:""The Holy Family", New York Metropolitan Museum of Art"
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Horizontally extended second type, by a follower of Joos
1496:"Man with the Rosary (1520), National Museum, Belgrade"
973:
The Infants Christ and Saint John the Baptist Embracing
945:(c1525), Bristol Museum and Art Gallery, Bristol, UK.
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82, no. 1/2 (2008): 60–75. Accessed January 3, 2021.
1453:"Descent from the Cross by Joos van Cleve (cat. 373)"
1323:"Britain's Lost Masterpieces – Series 5: 1. Brighton"
41:
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Triptych of Saint Peter, Saint Paul and Saint Andrew
1004:
Madonna and Child against the renaissance background
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Madonna and Sleeping Child in a Landscape, 1515-1520
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paintings. Some works reflect the popular style of
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904:(1518–1519), National Galleries Scotland, Edinburgh
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38:
1058:St. Anne with the Virgin and Child and St. Joachim
514:) and other members of the court. His portrait of
346:, oil on panel, 123.8 cm (48.7 in) high
1599:
960:(1520 and 1527), Galleria degli Uffizi, Florence
1201:(Repr. ed.). New Haven: Yale Univ. Press.
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1543:Record of the Art Museum, Princeton University
951:(1525), University of Michigan Museum of Art,
104:Four of his more important paintings have the
879:(1515), Akademie der bildenden Kunste, Vienna
583:. This essentially reduced the figures from
1469:: CS1 maint: multiple names: authors list (
1095:Random House Webster's Unabridged Dictionary
968:(1525), Metropolitan Museum of Art, New York
293:, centred on the fine art collection of the
167:Joos van Cleve is believed to have moved to
73:, he combines the traditional techniques of
939:(1520–25), Kunsthistorisches Museum, Vienna
775:which remained the official version of the
486:were discovered, produced in his workshop.
482:. Multiple versions of a soft, sentimental
1451:Bay, Lucia, and Christopher D. M. Atkins.
1648:Pupils and followers of Leonardo da Vinci
1553:Bulletin of the Detroit Institute of Arts
1359:Joos van Cleve (active 1505/08-1540/41),
870:
597:, Frankfurt) to a close-up with domestic
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994:(1530), Kunsthistorisches Museum, Vienna
910:(1519), Museo Thyssen-Bornemisza, Madrid
898:(c. 1517–20), Philadelphia Museum of Art
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143:Altarpiece of the Lamentation, 1520–1525
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1060:, Musee Royaux des Beaux-Arts, Brussels
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1145:Joos Van Cleve: The Complete Paintings
430:
80:An active member and co-deacon of the
71:Dutch and Flemish Renaissance painting
1514:"Kunsthistorisches Museum / Lucretia"
1254:Netherlands Institute for Art History
1192:
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992:Portrait of Eleonora, Queen of France
484:Madonna and Child and the Holy Family
408:Royal Museums of Fine Arts of Belgium
1147:. Yale University Press. p. 1.
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581:New York Metropolitan Museum of Art
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1030:, Wallraf-Richartz Museum, Cologne
982:(1526–28), Gemaldegalerie, Dresden
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1380:, 1985, p. 417, Harry N. Abrams,
1046:Portrait of Agniete ven den Rijne
976:(1525–30), Art Institute, Chicago
949:St. John the Evangelist on Patmos
933:(1520–25), Musée du Louvre, Paris
547:Small devotional pictures of the
474:. This is apparent in the use of
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1072:, Museu de Arte Sacra do Funchal
1066:, Szepmuveszeti Muzeum, Budapest
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840:("Man is a bubble") on the wall.
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1052:Portrait of Anthonis van Hilten
1048:, Rijksmuseum Twenthe, Enschede
1036:, The Hermitage, St. Petersburg
1008:Museum of King Jan III's Palace
1000:(1535), Landesmuseum, Oldenburg
916:(1520), Alte Pinakothek, Munich
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693:With wine-drinking Child, sold
459:" style is identifiable in the
328:, given a landscape background.
283:In January 2021 an episode the
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821:The second type described here
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1109:"Rijksmuseum: Joos van Cleve"
931:Altarpiece of the Lamentation
714:Minneapolis Institute of Arts
607:Museum of Fine Arts, Budapest
565:Virgin and Child with St Anne
403:Rest on the Flight into Egypt
1618:Flemish Renaissance painters
858:Works (very incomplete list)
543:, Metropolitan Museum of Art
447:, and iconographic ideas of
75:Early Netherlandish painting
7:
958:Portrait of a Man and Woman
746:type found in many versions
301:, previously attributed to
290:Britain's Lost Masterpieces
225:Numerous paintings contain
10:
1664:
1633:Flemish Mannerist painters
1325:– via www.bbc.co.uk.
1143:Hand, John Oliver (2005).
1042:, National Gallery, Prague
504:Philadelphia Museum of Art
425:, Queen of France, c. 1530
278:National Gallery in Prague
1568:, 1985, Harry N. Abrams,
1337:"Balthazar | Art UK"
986:Saint Jerome in his Study
926:National Museum of Serbia
852:In his study, with a rock
834:Saint Jerome in His Study
808:Saint Jerome in Penitence
567:. In some instances the
205:triptych, apparently the
1623:Flemish history painters
1566:Northern Renaissance Art
1518:Kunsthistorisches Museum
1378:Northern Renaissance Art
1276:Leeflang, 62–63; Hand, 3
1197:Campbell, Lorne (2000).
1076:
836:, 1528, Princeton, with
512:Kunsthistorisches Museum
248:John III, Duke of Cleves
242:(three altarpieces) and
1364:at the Royal Collection
943:Madonna of the Cherries
914:The Death of the Virgin
664:Madonna of the Cherries
498:. There he painted the
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110:Wallraf-Richartz-Museum
896:Descent from the Cross
871:In chronological order
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781:Protestant Reformation
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318:Descent from the Cross
272:half-length nude, the
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1643:Painters from Antwerp
980:Adoration of the Magi
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461:Adoration of the Magi
322:Rogier van der Weyden
219:Adoration of the Magi
203:Adoration of the Magi
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127:He was the father of
122:Max Jakob Friedländer
24:
1594:at Wikimedia Commons
883:Saint Reinhold Altar
783:was well under way.
728:The Virgin in Prayer
710:The Virgin in Prayer
256:Francois I of France
211:Museo di Capodimonte
150:Lower Rhenish region
95:northern Renaissance
1176:Leeflang, 61–63, 71
1133:Leeflang, 62–63, 71
1028:Death of the Virgin
921:Man with the Rosary
496:Francis I of France
441:Death of the Virgin
431:Artistic influences
423:Eleonore of Austria
173:Guild of Saint Luke
82:Guild of Saint Luke
1502:on 2 October 2011.
1115:on 3 February 2012
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679:Fitzwilliam Museum
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508:Eleanor of Austria
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129:Cornelis van Cleve
118:Ludwig von Baldass
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1638:Catholic painters
1628:People from Kleve
1590:Media related to
666:, Berlin, c. 1525
472:Leonardo da Vinci
457:Antwerp Mannerist
445:Hugo van der Goes
383:Mérode Altarpiece
303:Bernard van Orley
252:Holy Roman Empire
213:, Naples, c. 1515
99:Antwerp Mannerism
63:Joos van der Beke
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1608:1480s births
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1521:. Retrieved
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1500:the original
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1113:the original
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1613:1541 deaths
1349:Snyder, 418
1006:(c. 1535),
744:Holy Family
560:Holy Family
549:Virgin Mary
263:Suicide of
231:altarpieces
1602:Categories
1574:0136235964
1536:References
1523:14 January
1404:15 January
1386:0136235964
1361:Henry VIII
1257:(in Dutch)
1040:Mona Vanna
866:Mona Vanna
838:HOMO BULLA
779:until the
599:still life
593:(c. 1435,
516:Henry VIII
274:Mona Vanna
250:, and the
1441:Hand, 4–8
953:Ann Arbor
695:Sotheby's
612:Eucharist
389:, c. 1525
299:Balthazar
158:Jan Joest
1465:cite web
1119:20 April
937:Lucretia
924:(1520),
742:Another
563:and the
528:future.
525:Boulogne
285:BBC Four
268:, and a
265:Lucretia
227:heraldry
106:monogram
1432:Hand, 8
1285:Hand, 3
1252:at the
1221:Hand, 4
1090:"Cleve"
1012:Wilanów
769:Erasmus
647:Genoa,
478:in the
476:sfumato
287:series
276:in the
240:Cologne
114:Cologne
67:Antwerp
61:; also
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1151:
1016:Warsaw
891:Warsaw
730:, Yale
697:, 2014
595:Städel
557:, the
521:Calais
365:Louvre
244:Danzig
169:Bruges
162:Kalkar
1557:JSTOR
1547:JSTOR
1077:Notes
466:Like
236:Genoa
154:Kleve
1570:ISBN
1525:2024
1471:link
1406:2019
1382:ISBN
1203:ISBN
1149:ISBN
1121:2011
523:and
500:king
451:and
341:The
194:Work
135:Life
120:and
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587:'s
385:of
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112:in
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