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1007:). The only other dated gallery painting by Teniers is dated 1653. The fact that the other gallery paintings of Teniers are not dated has made it difficult to establish a chronology and evolution of his work in this genre. Two of the ten known gallery paintings with Archduke Leopold Wilhelm have similar compositions and include the same paintings: the large, undated canvas in the Kunsthistorisches Museum likely followed the equally large painting dated 1651 in Petworth House. The others are all independently composed and display different works or when the same works are included they are hung in a different order. Although Teniers's gallery paintings depict pictures known to have been part of the Archduke's collection, the precise arrangements in which he depicted those pictures is believed to be fictional. Teniers strove in these paintings to arrive at a visual survey of the collection. Some of the paintings show the Archduke visiting the collection accompanied by courtiers and other art collectors. Teniers included in some a portrait of himself apparently in the act of providing his patron some explanation on a particular work of art in the collection. In the
1386:(Private collection). At a first glance, the Guardroom with Monkeys is no different from other guardroom scenes. It is clear from the round moon above the door that the scene is set late at night. The off-duty monkeys have removed their armor, stowed their pikes and rolled up their company flag and placed it against the far wall. Like their human counterparts, the monkey soldiers are loitering about, some of them are drinking and smoking, others are playing games. At the door a cat wearing respectable civilian clothes is led into the room by two monkeys who restrain it. The contrast between the properly dressed cat and the bizarre outfit of the monkey soldiers, one of which is wearing a funnel on his head while another has an upturned pot on his head, raises doubt as to the legitimacy of the monkeys' authority. As was customary in singeries, the dress and behaviour of the monkeys highlight the foolishness of human undertakings. Teniers may also have intended to criticize the bloated military in the Southern Netherlands in the 1630s.
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1132:. This could mean that he intended these reproductions to function as independent records of some of these Italian paintings in the Archduke's collection. From the many modelli, which have been preserved, it is obvious that Teniers's copies constitute a true record of the originals even while he left out details and painted them in his typical fluid and transparent manner. The engraving of the catalog by engravers who worked after the modelli, not the originals, was started by 1656. In the 17th century there existed no efficient method for inverting images. As a result, most of the prints in the catalog are reverse images of the originals. Each print gives the name of the author of the original work on the left hand side (indicated by the letter 'p' for 'pinxit', Latin for 'painted by') and the engraver of the print on the right hand side (indicated by the letter 's' for 'sculpsit', Latin for 'engraved by'). Some editions also indicated the original dimensions of the paintings.
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ailments). There was therefore an overlap with the role of physicians. One of the popular methods of medical diagnosis was the so-called 'uroscopy', the analysis of the urine of a patient. Whereas this was considered a valid diagnostic method in the Middle Ages its validity had come under attack by more modern-minded physicians in the 17th century. The practice of uroscopy and the questions surrounding its use by medical practitioners were the impetus for genre paintings on the theme of the 'piskijker' ('pee examiner'). They typically showed the inspection by a physician or a quack of a flask of urine provided by a young woman. If the inspection revealed the image of a fetus this was proof that the woman was pregnant. It is assumed that the genre was started by
Adriaen Brouwer and that a now lost work of Brouwer inspired Teniers and Gerard ter Borch to paint works in this genre.
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1534:(At Sotheby's on 5 December 2007, lot 5).The work is dated to the mid-1630s on stylistic grounds. This work seems to show the influence of the Dutch monochrome still life painters. In particular, its simplicity and studied informality and the use of subtle muted colours bring to mind the work of contemporary artists from Leiden and Haarlem. However, is not clear whether Teniers was in fact directly influenced by these artists, and if so how. No similar still life paintings are known in Antwerp at this early date. At the time Teniers created this still life painting, the principal influence on him was Adriaen Brouwer, who had returned from Haarlem to Antwerp around 1631-2. To date Brouwer is not known to have been active as a painter of still lifes. While Teniers's early work also reveals his knowledge of Dutch artists in Rotterdam such as
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885:, who through his graceful bearing and costly clothing sets himself apart from the servants and toiling peasants in the picture. Teniers also made many paintings of other chateaux and estates. Only a few of the chateaux and estates he represented in these paintings are of known estates. It is believed that they are imaginary creations intended to present a generic view of what a country estate should look like: large, stately and dominating the countryside around it. These paintings often include depictions of the tenant farmers who pay deference to their masters. They thus give expression to the prevalent worldview of the ruling class of his day, of which Teniers aspired to be a part, which was that the good and humble peasant would always show reverence to his noble lord.
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regarded either as quacks or charlatans using deception to seek material gain or as persons seriously committed to the pursuit of knowledge. The ambivalence of this attitude was reflected in the artistic representations of physicians and alchemists. The first approach was to satirise the alchemist and turn him into a symbol of human folly. The artists would stress that the alchemist's research into creating gold from base metals was solely driven by a sinful pursuit of personal gain. Symbolism was used to show that alchemists were wasting precious time and money, and in the process sacrificed the well-being of their families. In his famous
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796:, Brussels) breathe an idyllic Arcadian spirit. The peasant characters have lost their ungainly appearance and people from the higher social classes are now mixed in with the common people. The artist's new status as court painter of Archduke Leopold Wilhelm from 1651 may have contributed to this 'gentrification' of his work. This type of rural scene became very popular. In many of Teniers's late paintings, the excitement of his earlier peasant feasts is gradually replaced by tranquil scenes populated with only a few human figures. In this later period Teniers also adopted a more painterly and looser style.
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pictorial genre that was initiated in
Flemish painting in the 16th century and was subsequently further developed in the 17th century. Monkeys were regarded as shameless and impish creatures and excellent imitators of human behaviour. These depictions of monkeys enacting various human roles were a playful metaphor for all the folly in the world. In 16th century visual and literary sources, the image of the monkey was typically used to symbolise the unreasonable and foolish aspect of human nature. It is this quality that Teniers refers to in his
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artists who started proceedings to prohibit him from holding an auction in 1683. Teniers argued that he needed the proceeds of the auction because his children were suing him for their mother's part of her estate. The matter was finally settled between the parties themselves. In his final years, he lost his second wife and was involved in further lawsuits over her estate with the two surviving children of his second wife. There is evidence that in these years he suffered a decline in his prosperity and that his output was diminished.
506:, who had been a close associate and favorite of the English King and was, like the King, executed in 1649. The Conde de Fuensaldaña, then acting as Leopold Wilhelm's lieutenant in the Southern Netherlands, also sent Teniers to England in 1651 to purchase paintings at the Pembroke and presumably other sales. The collection of the Archduke grew to incorporate about 1,300 works, mainly of leading Italian artists such as Raphael, Giorgione, Veronese and Titian (15 works by this artist alone) as well as of famous Northern artists such as
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compositions he painted as a court painter, the landscapes he painted at Perk stand out by their simplicity. They expressed an
Arcadian view of life in the countryside and eulogized the advantages of a peaceful existence on the land. He presented the rural life as happy and carefree. The landscapes themselves were a combination of fantasy and reality. The Arcadian spirit was conveyed through stock motifs such as cattle and sheep, bridges and classical ruins on a hill as well as through the general tonality and style of these works.
1045:(At Sotheby's New York, 24 January 2002, lot 169). These gallery paintings are heavy with symbolism and allegory and are a reflection of the intellectual preoccupations of the age, including the cultivation of personal virtue and the importance of connoisseurship. They accentuate the notion that the powers of discernment associated with connoisseurship are socially superior to or more desirable than other forms of knowing. Teniers also created an allegorical or satirical interpretation of a gallery painting in the drawing
612:. It has been suggested that Teniers's main motive for marrying the 'spinster' was her rather elevated position in society. His second wife also brought him a large dowry. The couple had four children, two sons and two daughters. His second wife's attitude to Teniers's children from his first marriage would later divide the family in legal battles. Teniers petitioned the king of Spain to be admitted to the aristocracy but gave up when the condition imposed was that he should give up painting for money.
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1270:(1633, private collection). Monkey soldiers are shown enjoying themselves in front of a tent set up on what is likely a town square with a landscape in the distance. Food and wine are in abundant supply. On the tent is pinned an image of an owl with spectacles. The owl recalls the Flemish proverb 'wat baten kaars en bril als de uil niet zien en lezen wil' ('what good are candle and spectacles if the owl does not want to see and read'). The
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common development in
Flemish painting at the time. The smoky and monochrome tonality of the interiors from the 1630s was replaced by a luminous, silvery atmosphere, in which the peasants sit at their ease, conversing or playing cards. These paintings show a radical move towards a more positive attitude towards country life and the peasantry than was reflected in his earlier satirical pieces influenced by Brouwer.
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427:, became his wife on 22 July 1637. Rubens, who had been the guardian of Anna Brueghel after her father's death, was a witness at the wedding. Through his marriage Teniers was able to cement a close relationship with Rubens who had been a good friend and frequent collaborator with his wife's father. This is borne out by the fact that at the baptism of the first of the couple's seven children
768:, i.e. head or facial studies, which investigate varieties of expression. Teniers's early work up to the end of the thirties was very close to that of Brouwer in terms of subject matter, technique, color and composition. He took from Brouwer the gross types, placed in the characteristic smoky, dimly lit taverns. He also treated these subjects with the same monochrome tonality as Brouwer.
1036:. His secondary intention may have been to demonstrate to the King that his collection in Brussels could emulate the King's collection in Madrid. As in the 17th century the power of a prince was no longer judged solely based on his military success, but even more so on his taste in, and appreciation of, art, the Archduke thus wanted to show that he could hold his own against the King.
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to the mid-1640s and are painted on copper. The subject of the guardroom and its contents such as armor, colorful flags and banners, saddles, drums, pistols allowed
Teniers to showcase his brilliance as a still life painter. Teniers also used the subject to demonstrate his ability to use light to achieve a perfect representation of the quality of painted objects.
1793:, which featured figures in ball dress or masquerade costumes disporting themselves amorously in parkland settings. In the 18th century, Watteau was commonly described as the 'French Teniers', thus showing that the comparison between the two artists contributed to Watteau's success. Other French painters of this time who were influenced by Teniers include
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1430:. In the 1640s Teniers created the second imagery of the alchemist. Teniers portrayed the alchemist as a learned and humble scientist diligently pursuing his research in his laboratory crowded with instruments. In the laboratory one or two assistants typically assist the alchemist with the performance of an experiment. Teniers's
1727:. The series was made for the Minorite Church in Mechelen following the beatification of the martyrs on 9 July 1676. Teniers painted the monochrome bust portrait of each martyr in a cartouche while Gysaerts painted the cartouche and the flower garland surrounding it. Of these paintings, eight are known still to exist,
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assist in the negotiation to successfully obtain the required licence from the
Spanish King. This involved Teniers's son presenting a very expensive golden watch to one of the courtiers who could influence the Spanish King's decision on the matter. As soon as he received the royal charter creating the
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contained a bust portrait of the
Archduke with a dedication to the Archduke as well as introductions in Latin, French, Spanish and Dutch. The title page clarifies that Teniers funded the publication project out of his own pocket. The Theatrum pictorium was published in four languages (Latin, French,
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he included thin, dark clouds, with streaking sun rays piercing through rain and a rainbow in the left background. Along with Rubens, Teniers was among the first
Flemish 17th-century artists to include rainbows in his compositions, not for their religious or allegorical meaning, but rather as another
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In the early 1640s
Teniers began to paint more landscape paintings and in these he developed his own pictorial language. He started to focus on the Flemish countryside as a subject in itself rather than solely as a backdrop to his outdoor peasant scenes. In his landscapes he paid particular attention
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Teniers's scenes with peasants were so well known that compositions with this subject came to be called 'tenierkens' ('small teniers') and tapestries with peasant scenes were referred to as 'Teniers tapestries'. Teniers did not design any
Teniers tapestries himself. Only a few of these tapestries can
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who had earlier worked in Vienna for the Archduke. One of Teniers's key tasks in this position was to look after and enlarge the Archducal collection. Teniers put together a collection for the art gallery which included his own work and that of other artists, which he selected. He was involved in the
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In the 18th century, Parisian collectors eagerly competed to lay their hands on Teniers's works. They knew the artist chiefly for his idealized scenes of rural life, paintings of village feasts, interiors with peasants and guardroom scenes. Teniers's work was very much admired by French painters of
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Teniers is not generally known as a still life painter. Nevertheless, many of his interiors include elaborate still lifes, some of them painted by specialist still life painters, others painted by Teniers himself. The subject of the guardroom and all its trappings such as armor, colorful flags and
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to depicting art galleries, and in particular the collection of Archduke Leopold Wilhelm. In the final, 'late' phase of the genre from c. 1660 to 1690, artists such as Teniers's pupil Gillis van Tilborgh went further in removing non-art objects from the gallery and introduced figures in the gallery
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A guardroom scene typically depicts an interior scene with officers and soldiers engaged in merrymaking. Guardroom scenes often included mercenaries and prostitutes dividing booty, harassing captives or indulging in other forms of reprehensible activities. Many of Tenier's guardroom interiors date
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was sold at Sotheby's New York sale of 27 May 2004 as lot 16). The artist is shown sitting in front of an easel holding his brush and palette. In an exceptions combination of the genre of artist studio and gallery painting, some young connoisseurs are visiting the artist's studio and are examining
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was involved in organizing the publication of the work. The first official publication of the work in bound book format was published by Hendrick Aertssens in Brussels in 1660 (although the title page states the date as 1658). The title page of the book refers to it as 'Hoc Amphiteatrum Picturarum'
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Teniers's interest in pastoral paintings has been linked to his ambition to be elevated to the nobility. Agriculture and animal husbandry were regarded as proper occupations of the nobility. An estate in the countryside was therefore a necessary part of the status of nobles of that time. Teniers
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Teniers contributed to the spread of the genre of the 'monkey scene', also called 'singerie' (which in French means a 'comical grimace, behaviour or trick' and is derived from 'singe', the French word for monkey). Comical scenes with monkeys appearing in human attire and a human environment are a
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Teniers played an important role in the development of the genre of gallery paintings and his mid-17th-century gallery paintings of the collection of Archduke Leopold Wilhelm are among the most famous examples of the genre. The earliest works in this genre depicted art objects together with other
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Teniers bought a house close to the Brussels court and was promoted in 1655 to 'camerdiender' or 'ayuda de cĂĄmara' (chamberlain) by the Archduke. It was most unusual for a painter to serve as chamberlain at the Spanish court. In fact, there was only one other case, which dates from the same time:
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family. The panels illustrate the deeds of Guillermo RamĂłn Moncada and Antonio Moncada, two brothers from the Moncada House who lived at the end of the 14th and beginning of the 15th century in Sicily. Five prominent Flemish artists collaborated on the panels. Of 12 scenes devoted to Guillermo
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As a court painter, Teniers was not required to become member of a local guild. Nevertheless, he became a member of the Brussels Guild of Saint Luke in 1675. In his later years, Teniers was also active as an art dealer and he organised art auctions. This brought him into conflict with his fellow
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At the behest of his Antwerp colleagues of the Guild of Saint Luke, Teniers became the driving force behind the foundation of the Academy in Antwerp, only the second of such type of institution in Europe after the one in Paris. The artist used his connections and sent his son David to Madrid to
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The personal style of Teniers was visible from the outset. An important distinction was that unlike Brouwer who placed these genre scenes mainly indoors, Teniers gradually moved his scenes into the open air and started to give the landscape a major place in his work from the 1640s. This was a
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This type of painting belongs to the genre of the 'garland painting', which was invented and developed by Teniers's father-in-law Jan Brueghel the Elder in the first two decades of the 17th century. Garland paintings typically show a flower garland around a devotional image or portrait. Other
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It is likely that these gallery paintings of the Archduke's collection were painted to memorialize and eulogize it and anyone associated with it. The gallery painting with Archduke Leopold Wilhelm in Peftord House was made on copper. This was unusual for a picture of such a large size and was
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Underneath this are some further verses as follows: / Palladis ingenium est Leopoldo fortiter Ille et / Suauiter hinc armis, artibus inde vacat. / Arma aliàs : nunc artifices circum ordine formas / Ponitc; et hsec Illi nempe corona placet. / Arte alij vultus, médius non-pingitur vllù; /
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While alchemists were mainly concerned with transmutation of base metals into more noble ones, their endeavors were wider and also involved the use of their techniques to diagnose or cure people (the so-called 'iatrochemistry', which aimed to provide chemical solutions to diseases and medical
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The theme of physicians and alchemists was popular in 17th century Flemish and Dutch genre painting. Teniers was the principal contributor to this genre and its iconography in Flanders. The view of the public towards practitioners of either craft was ambivalent. Physicians and alchemists were
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Teniers painted singeries in two distinctive periods. During the first period in the early 1630s he was still working in Antwerp. He returned to the subject in the 1660s when he was working in Brussels as the court painter of Archduke Leopold Wilhelm. In the early period Teniers's singeries
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The publication comprised 246 engravings of important Italian paintings in the art collection of Archduke Leopold Wilhelm. While the project was initially planned to include the entire collection of the Archduke, the Archduke returned to Vienna before the project was completed. As a result,
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In the 1660s Teniers started to paint pastoral scenes. It is likely that the increased prominence of rural life and nature in his work of that period was connected to his 1662 purchase of Drij Toren, a country house in Perk in which he maintained a studio. In contrast to the sophisticated
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be directly linked to works by Teniers. Teniers tapestries were particularly popular from the last third of the 17th century and well into the 18th century. The Teniers tapestries were woven by many Brussels weavers and also in other centers such as Lille, Oudenaarde, Beauvais and Madrid.
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painting through his vivid depictions of peasants, soldiers and other 'lower class' individuals, whom he showed engaged in drinking, smoking, card or dice playing, fighting, music making etc. usually in taverns or rustic settings. Brouwer also contributed to the development of the genre of
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Teniers was a dean of the Antwerp Guild of Saint Luke in 1644â1645. When Archduke Leopold Wilhelm of Austria became the Governor General of the Southern Netherlands in 1647, the Archduke soon became an important patron of Teniers. The success went to the artist's head. He claimed that his
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Teniers's genre paintings were influential on northern painters of the 17th century. His work was easily accessible to other artists as he was one of the most reproduced artists of his time and prints after his work were produced in large quantities. In Flanders he influenced his pupil
1372:(At Sotheby's London sale of 7 July 2010, lot 12) Teniers included his own portrait at about 36 years of age. The artist has dossed himself out as an officer wearing an exotic fur-trimmed coat and a fur hat with plume. This self-portrait within this picture may have been intended as a
654:, Teniers travelled with it from Brussels to Antwerp and celebrated the accomplishment with a big banquet in the Schilderskamer of the Guild of St. Luke. When in 1674 the existence of the Academy was threatened, he again used his influence at the Spanish court to save the institution.
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that of VelĂĄzquez, whose aim was also to be elevated to the nobility. Not long after the Archduke resigned from his position as Governor General of the Spanish Netherlands and returned to Vienna with his large art collection. A Flemish priest, who was also a gifted still life painter,
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Teniers's paintings of the Archduke's collection fall into a genre referred to as 'gallery paintings' or 'pictures of collections'. Gallery paintings typically depict large rooms in which many paintings and other precious items are displayed in elegant surroundings. Antwerp artists
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Around 1650, Teniers moved to Brussels to formally enter into the service of the Archduke as a "pintor de cĂĄmara" (court painter). The Archduke asked him to be the keeper of the art gallery he had set up in his palace in Brussels. In that position he succeeded the Antwerp painter
737:. This influence was transmitted to him through his father, who had studied under Elsheimer in Rome and is regarded as a follower of Elsheimer. Elsheimer was mainly known for his small cabinet paintings characterised by their innovative treatment of landscape and light effects.
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The armour depicted in the guardroom pictures was already out of date at the time it was painted since metal armours, breast plates and helmets fell out of use from the 1620s. It is possible that in line with the moralizing intent of the genre, the armour is a reference to the
334:). His father was frequently in financial straits and his debts landed him occasionally in jail. David the younger had to make copies of old masters in order to support the family. In 1632â33, he was registered as 'wijnmeester' (i.e. the son of a master) in the Antwerp
246:. He created a printed catalogue of the collections of the Archduke. He was the founder of the Antwerp Academy, where young artists were trained to draw and sculpt in the hope of reviving Flemish art after its decline following the death of the leading Flemish artists
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at P. Kockx, Antwerp, 1880, p. 96. Full title is SERENISS. PRINCIPI / LEOPOLDO GVILLIEL: / Archiduci Austr. etc. / Dno. suo clement: / HOC AMPHITHEATRVM / PICTVRARVM / ex suĂŠ Serent: archetypis / delineatum sua manu / dedicauit / Ao. MDXLVIII / Underneath this:
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presumably done so that the Archduke could send it as a present to Philip IV of Spain. By sending this work to Philip IV, the Archduke may have intended to pay homage to his uncle as a prominent connoisseur of Italian painting known for his large collection at the
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around a cartouche showing a young man blowing soap bubbles, which was painted by Teniers. The young man blowing bubbles and the elements in the garland surrounding him such as the flowers, the dead fish and the armor and flags are all references to the theme of
833:(Hermitage Museum). Teniers depicted real as well as imaginary landscapes. Although he did not intend these works to be topographically accurate, he spent a lot of time sketching in the countryside. This explains why certain motifs recur in his landscape oeuvre.
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628:, in the environs of Brussels and Vilvoorde. Teniers did not cut his links with Antwerp while living and working in Brussels. Teniers maintained close contacts with artists as well as the influential art dealers in Antwerp. In particular; the firm of
480:) to Antwerp in the 16th century had been from a family that had been entitled to bear a coat of arms. Teniers started to use this coat of arms consisting of a croaching bear on a field of gold encircled by three green acorns. His brother-in-law
978:. The persons populating the galleries in these early works are 'virtuosi' who appear as keen to discuss scientific instruments as to admire an artwork. Teniers transformed the genre in the mid 17th century by moving away from the depiction of
897:. The paintings are believed to depict a fictitious space rather than the actual location of the Archduke's collection in his Brussels palace. The paintings shown in them, however, are known to have formed part of the Archducal collection.
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Teniers was known as a hard worker who was extremely prolific. About two thousand paintings are thought to have been painted by the artist. He was extremely versatile and tried his hand at all the genres then practised in Flanders including
3301:, In: Geest en gratie. Essays presented to IldikĂł Ember in her Seventieth birthday. Editor-in-chief: Orsolya RadvĂĄnyi. Co-editors: JĂșlia TĂĄtrai, Ăgota Varga. Budapest: SzĂ©pmƱvĂ©szeti MĂșzeum; Elektropoduct Nyomdaipari Kft., 2012, pp. 26â33
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Teniers is particularly known for developing the peasant genre, the tavern scene and scenes with alchemists and physicians. He also painted many religious scenes among which stand out his many compositions treating the subjects of the
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Collaboration between artists specialized in distinctive genres was a defining feature of artistic practice in 17th-century Antwerp. Teniers was likewise a frequent collaborator with fellow artists. His collaborators included
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was published in Brussels. When Don Juan of Austria ended his term as Governor General of the Southern Netherlands in January 1659, Teniers appears to have withdrawn from active court duty. He purchased from the husband of
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Review of Hans Vlieghe, David Teniers the Younger (1610â1690). A Biography (Pictura Nova. Studies in 16th- and 17th-Century Flemish Painting and Drawing, XVI). Turnhout: Brepols Publishers, 2011. 214 pp, 86 b&w illus.
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items such as scientific instruments or peculiar natural specimens. These paintings expressed the Early Modern culture of curiosity, in which art works and scientific instruments were mixed together in so-called
877:) Teniers placed his estate in the center of the composition and included a portrait of his family, servants and tenant farmers at the harvest. He paid homage to Rubens by including Rubens' nearby estate called
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does not seem to have liked Teniers's work. According to a story, when presented with a peasant scene by Teniers the French king asked for the 'magots' (baboons) to be removed from his sight as soon as possible.
435:, was the godmother. Around this time Teniers started to gain a reputation as an artist and he received many commissions. The Guild of St George (Oude Voetboog Guild), a local militia in Antwerp, commissioned a
1787:. Without Teniers's influence it is unlikely that Watteau would have developed his typical style and subjects. In particular the village feasts of Teniers had shown the way for Watteau in the development of his
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A David Teniers is recorded in the Antwerp records as having been issued in 1635 a passport to visit Paris. The artist likely also travelled to England as on 29 December 1635 of the same year he signed in
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1252:. David Teniers the Younger, following in the footsteps of his father-in-law Jan Brueghel the Elder, became the principal practitioner of the genre and developed it further with his younger brother
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From 1626, David the younger studied under his father. A collaborator of his father early on in his career, the father and son pair created together a series of twelve panels recounting stories from
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depicted the alchemist as recklessly extravagant and wasteful in the use of resources. This drawing set the standard for the imagery of alchemists that was adopted by 17th century artists such as
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573:, moved with Leopold Wilhelm from Brussels to Vienna where he was the successor of Teniers as the director of the archducal gallery in Vienna. The new Governor General of the Spanish Netherlands,
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During his tenure as keeper of Archduke Leopold Wilhelm's collection, Teniers undertook the preparation and publication of the first ever illustrated catalog of old master paintings. His brother
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The Archduke also promoted Teniers's art by giving his compositions to other European rulers as presents. As a result, many of these rulers also became patrons of the artist. The bishop of Ghent
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after the original works on panels of roughly 17 by 25 in dimensions. These were then engraved on the same scale by a pool of 12 engravers. Teniers used full colour in the modelli, rather than
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published in 1662 that Don Juan was an amateur artist who regularly asked Teniers to give him instructions in art. Don Juan was so taken by Teniers that he even drew a portrait of Teniers son.
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can be regarded as a criticism of the role of 'fools in high places'. Teniers evidently identified close with the singerie genre in this early period of his career as two monkey scenes â the
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Teniers's wife died on 11 May 1656. On 21 October of the same year, the artist remarried. His second wife was Isabella de Fren, the 32-year-old daughter of Andries de Fren, secretary of the
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1196:(1633, private collection) in which he included a chained monkey in fool's clothes who is looking through a telescope from the wrong end. In addition, monkeys were associated with the
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1017:(the third man from the right) who later followed the Archduke upon his return to Vienna where he took over Teniers's role as director and cataloger of the Archduke's collection.
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1256:. The two brothers were able to cater to the prevailing taste in the art market and were thus instrumental in spreading the genre outside Flanders. Later in the 17th century
3476:
1381:
1630:
one. Teniers was responsible for all eight panels describing the deeds of Antonio Moncada. He painted them not long after the first part of the series had been finished.
3460:
1170:
had an important impact on the manner in which collections were organised, appreciated and published and continued to be used as a reference book during the 18th century.
1055:). The drawing is clearly a pun on the popular 'art as the ape of nature' present in many pictures of collections through the inclusion of a monkey among the art lovers.
1538:
and the Saftleven brothers, none of these artists were still life painters. The still life may possibly reflect the influence of the important Dutch still life painter
893:
Teniers painted 10 paintings representing the collection of the Archduke Leopold Wilhelm in Brussels. Of these only three are dated. Nine are painted on canvas and one
3468:
3444:
821:
2538:
F. P. Dreher, 'The Artist as Seigneur: Chateaux and Their Proprietors in the Work of David Teniers II', in: The Art Bulletin, vol. 60, no. 4 (Dec. 1978), pp. 682â703.
1708:
court (then the rulers over the Southern Netherlands) and in Antwerp generally. The earliest specimens of the genre often include a devotional image of Mary in the
3428:
1020:
1008:
991:
1806:
1812:
934:. The genre became immediately popular in Antwerp where many artists practised it in Teniers's time: they included artists such as Jan Brueghel the Younger,
1191:
1103:
1431:
2801:
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1654:
502:
and his Jacobite supporters. One of his most important successes was the acquisition of the major part (about 400 paintings) of the collection owned by
3102:
986:
651:
685:
3008:
3169:
3036:
1236:. These prints were widely disseminated and the theme was then picked up by other Flemish artists. The first one to do so was the Antwerp artist
931:
1504:
banners, saddles, drums and pistols gave Teniers ample opportunity to showcase his capabilities as a still life painter. This can be seen in the
900:
227:. He is now best remembered as the leading Flemish genre painter of his day. Teniers is particularly known for developing the peasant genre, the
3151:
2459:
2372:
299:(1629â1670). The work of his two oldest brothers is virtually unknown. The work of his youngest brother Abraham was very close to David's own.
3436:
2560:
1845:
2759:
1232:
introduced the singerie as an independent theme around 1575 in a series of prints, which were strongly embedded in the artistic tradition of
1100:
ultimately only a series of 246 plates was produced, of which 243 depicted about half of the Italian paintings then owned by the Archduke).
2219:
1154:
771:
3199:
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continued the support for the artist that he had enjoyed from his predecessor the Archduke Leopold Wilhelm. The early Flemish biographer
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851:
983:
setting who claimed elite status by virtue of their knowledge of (and, as in some cases artists are present, ability to produce) art.
3323:
Jetty E. van der Sterre. "Rijckaert, David, III." Grove Art Online. Oxford Art Online. Oxford University Press, accessed 9 April 2017
2868:
1096:
Dutch, and Spanish) and further editions appeared in 1673 and 1688 and in the 18th century. The last edition was published in 1755.
420:. Teniers was also invited to participate in this project and make a picture after Rubens' design. That painting is considered lost.
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3051:
2741:
787:
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1139:
serve as a record for some important paintings the whereabouts of which are currently unknown. For instance, the modelli in the
3497:
1528:
A few independent still life paintings have also been attributed to Teniers. One of the most accomplished ones of these is the
1205:
2612:, Advisors: Wheelock, Arthur, PhD, 2007 Dissertation, University of Maryland University of Maryland (College Park, Md.), p. 8
827:
means by which to showcase his careful study of nature. Other examples of this include other works from the mid 1640s such as
635:
2481:
2358:
Charles Sterling, Maryan W. Ainsworth, Charles Talbot, Martha Wolff, Egbert Haverkamp-Begemann, Jonathan Brown, John Hayes,
2357:
2242:
1492:
1004:
828:
793:
1039:
Teniers also painted a few gallery paintings showing artists at work or cognoscenti inspecting a collection. An example is
207:. He was an extremely versatile artist known for his prolific output. He was an innovator in a wide range of genres such as
2779:
Marr, Alexander (2010) 'The Flemish 'Pictures of Collections' Genre: An Overview', Intellectual History Review, 20: 1, 5â25
2675:
1394:
590:
503:
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302:
239:
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L. J. Wassink. "Tilborgh, Gillis van." Grove Art Online. Oxford Art Online. Oxford University Press. Web. 11 April 2017.
3589:
3554:
3369:
1838:
1474:
1407:
2899:
Fifteenth- to Eighteenth-century European Paintings: France, Central Europe, the Netherlands, Spain, and Great Britain
2360:
Fifteenth- to Eighteenth-Century European Paintings: France, Central Europe, The Netherlands, Spain, and Great Britain
1347:
922:
were the first to create paintings of art and curiosity collections in the 1620s. The genre was further developed by
525:
3579:
3569:
1324:(1642). A guardroom scene is a type of genre scene that became popular in the mid-17th century, particularly in the
295:
on 15 December 1610. Three of his brothers also became painters: Juliaan III (1616â1679), Theodoor (1619â1697) and
2514:
1712:
but in later examples the image in the cartouche could be religious as well as secular as is the case of Teniers's
1337:
2584:
Keith Andrews. "Elsheimer, Adam." Grove Art Online. Oxford Art Online. Oxford University Press. Web. 17 March 2017
3574:
3336:, in: Nederlands Kunsthistorisch Jaarboek (NKJ) / Netherlands Yearbook for History of Art, Vol. 24 (1973), p. 158
3247:
1229:
498:
purchase of a large number of Italian, and especially Venetian, masterpieces from the confiscated collections of
2395:
1794:
3599:
2593:
2410:
Le Palais du Coudenberg à Bruxelles: Du chùteau médiéval au site archéologique, Editions Mardaga, 2014, p. 180
1065:
959:
1328:. In Flanders Teniers was one of the principal practitioners of the genre together with his brother Abraham,
380:. Rubens realized this important commission with the assistance of a large number of Antwerp painters such as
3284:
David Freedberg, "The Origins and Rise of the Flemish Madonnas in Flower Garlands, Decoration and Devotion",
1831:
1517:
1299:
740:
397:
292:
755:. Adriaen Brouwer was working in Antwerp from the mid 1620s to the mid 1630s after an extended residence in
553:
2426:
175:
1928:
1634:, a nephew of Teniers and a still life specialist, realised the decorative borders framing each episode.
574:
1217:
3355:
3299:
The beatified martyrs of Gorkum. A series of paintings by David Teniers the younger and Wouter Gysaerts
3137:
De kunst van het piskijken in de Gouden Eeuw in Nederland, Over de ontwikkeling van een apart genrestuk
2626:
2495:
1768:
1579:
1511:
1445:
1411:
1237:
1140:
999:
Teniers first depicted Archduke Leopold Wilhelm with his collection in two pictures dated 1651 (one in
919:
549:
545:
751:
Another major influence on David Teniers the Younger's early work was the work of the Flemish painter
3407:
1627:
1415:
1380:
in an exotic costume. Teniers combined the genres of singerie and guardroom scene in the composition
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1664:
1631:
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519:
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in the early 1640s. He influenced the next generation of Northern genre painters as well as French
1743:
1214:, who represents holiness, is contrasted with the monkey chained at her feet who symbolizes evil.
3604:
1320:
1033:
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595:
A family concert on the terrace of a country house: a self-portrait of the artist with his family
570:
331:
280:
192:
151:
3214:
2762:
Archduke Leopold Wilhelm and the artist on his left in the archducal picture gallery in Brussels
2610:
Hoe schilder hoe wilder: Dissolute Self-Portraiture in Seventeenth-Century Dutch and Flemish Art
2957:
1935:
1701:
1596:
1311:
1257:
1241:
923:
915:
424:
349:
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a contract with the Antwerp art dealer Chrisostomos van Immerseel, then resident in England.
2988:
446:
1642:
1459:
1211:
1042:
A picture gallery with two men examining a seal and a red chalk drawing, and a monkey present
1025:
A picture gallery with two men examining a seal and a red chalk drawing, and a monkey present
935:
481:
117:
Painter, printmaker, draughtsman, miniaturist painter, staffage painter, copyist, art curator
1606:
Teniers collaborated on a series of twenty copper panels commissioned by two members of the
820:
to the variegated light of the Flemish countryside in different weather conditions. In his
624:, the widow of Rubens, a country estate called the 'Drij Toren' ('Three towers') located in
3564:
3559:
3120:
2158:
1802:
1575:
1567:
1539:
621:
499:
473:
432:
401:
243:
3270:
Seventeenth-Century Flemish Garland Paintings. Still Life, Vision and the Devotional Image
1676:, i.e. the transience of life and the worthless nature of all earthly goods and pursuits.
8:
2144:
1760:
1756:
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963:
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669:
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561:
335:
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1681:
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had himself acquired the country estate Drij Toren in Perk near Rubens' country estate
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477:
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Teniers married into the famous Brueghel artist family when Anna Brueghel, daughter of
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216:
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141:
2429:
Archduke Leopold Wilhelm and the artist in the archducal picture gallery in Brussels
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1700:
movement. The genre was further inspired by the cult of veneration and devotion to
1111:
698:
537:
440:
413:
288:
251:
208:
86:
60:
41:
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2269:, Grove Art Online. Oxford Art Online. Oxford University Press. Web. 13 March 2017
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1788:
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1653:
Another example of a collaborative painting made by Teniers is the composition
1614:
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1325:
1085:('This amphitheatre of pictures'). The publication is now often referred to as
1052:
1000:
874:
734:
625:
405:
381:
321:
212:
90:
64:
3548:
2807:, in: 1648: Krieg und Frieden in Europa, MĂŒnster, 1998, Volume 2, p. 181-190
1776:
1453:
1333:
939:
894:
643:
409:
393:
373:
235:
228:
3361:
2934:
Titian Remade: Repetition and the Transformation of Early Modern Italian Art
2714:
A pastoral landscape with a washerwoman and a herdsman with cattle and sheep
2461:
David Teniers and the Theatre of Painting 19 October 2006 to 21 January 2007
518:. The collection became the foundation and nucleus of the collection of the
32:
2790:
Curiosity and Identity in Cornelius Gijsbrechts' Trompe L'oeil Studio Walls
2297:
2283:
Innovation and Creativity in Late Medieval and Early Modern European Cities
1764:
1441:
1329:
515:
389:
372:. The mythological scenes depicted in the series were largely based on the
1723:, a still life painter, on a series of 19 garland paintings depicting the
2729:
A pastoral landscape with a shepherd playing a pipe with cattle and sheep
1732:
1623:
1557:, with Nicolaes van Verendael and Carstian Luyckx, c. 1670, oil on canvas
1437:
541:
204:
2238:
1592:
Kitchen still life with a vase of flowers, dead birds, a fish and a cat
1555:
Kitchen still life with a vase of flowers, dead birds, a fish and a cat
1197:
1160:
714:
284:
224:
196:
1542:, who had arrived in Antwerp in 1635, the year this picture was made.
881:
in the far distance. He depicted himself in the picture as a country
3490:
Portrait of Bishop Antonius Triest and His Brother Eugene, a Capuchin
1735:. Both Gysaerts and Teniers signed the painting in the Rijksmuseum.
1485:
An example of Teniers's contribution to the genre is the composition
1419:
1150:
1129:
760:
706:
702:
484:
reported him and Teniers was prohibited from using the coat of arms.
231:, pictures of collections and scenes with alchemists and physicians.
2744:
A pastoral landscape with a herdsman playing a pipe near a waterfall
841:
A pastoral landscape with a herdsman playing a pipe near a waterfall
3235:
The Submission of the Sicilian Rebels to Antonio de Moncada in 1411
3139:, Master thesis 2011, Faculty of Humanities, University of Utrecht
1705:
1611:
1264:
typically depicted monkeys as soldiers. From this period dates his
1013:(c. 1650, Kunsthistorisches Museum) Teniers included a portrait of
710:
664:
His pupils included his son David, Ferdinand Apshoven the Younger,
470:
220:
200:
82:
1124:
In the preparation of this project, Teniers first painted reduced
2629:
Facetten van de Vlaamse genreschilderkunst in de zeventiende eeuw
1696:. The genre was initially connected to the visual imagery of the
1673:
1360:
1108:
View into the picture gallery of the Archduke Leopold in Brussels
1073:
867:. Teniers painted his own country estate several times. In the
756:
632:
was instrumental in building Teniers's international reputation.
417:
276:
56:
1680:
artists involved in the early development of the genre included
3350:
2822:
The Archduke Leopold Wilhelm in his Picture Gallery at Brussels
1660:
1373:
765:
668:, Jan de Froey, Aert Maes, Abraham Teniers, and Aert van Waes.
369:
255:
1201:
364:
to create a series of mythological paintings to decorate the
343:
2443:
Collections of Painting in Madrid, 1601â1755 (Parts 1 and 2)
1663:). In this work Teniers collaborated again with his nephew
1048:
Monkeys' Masquerade: The Painterâs Studio, an Artist Seated
377:
360:
Rubens received in 1636 a commission from the Spanish king
3595:
Academic staff of the Royal Academy of Fine Arts (Antwerp)
3027:, Artibus et Historiae Vol. 27, No. 53 (2006), pp. 151â174
1805:. Some art historians see a direct link between Teniers's
3025:
The Dutch Guardroom Scene of the Golden Age: A Definition
2363:, The Metropolitan Museum of Art, New, 1998, pp. 129â133.
1817:
based on thematic as well as compositional similarities.
954:. Later practitioners included Teniers's presumed pupil
466:
1282:â are reproduced in his self-portrait of 1635, known as
1163:
are the most important records of these lost paintings.
1729:
one of which, depicting the martyr Hieronymus van Weert
1719:
In 1676 Teniers collaborated with his nephew or cousin
1204:
and regarded as the opposite of god. In DĂŒrer's print
870:
View of Drij Toren at Perk, with David Teniers' family
856:
View of Drij Toren at Perk, with David Teniers' family
776:
Landscape with peasants playing bowls outside an inn
3423:
Archduke Leopold Wilhelm in his Gallery at Brussels
2549:
Flemish Paintings in the Metropolitan Museum of Art
992:
Archduke Leopold Wilhelm in his gallery in Brussels
906:
Archduke Leopold Wilhelm in his gallery in Brussels
2664:Flemish Tapestry from the 15th to the 18th Century
2300:Watteau, Antoine (1684â1721) LâAccordĂ©e du Village
1667:who painted a decorative garland representing the
1076:by Teniers after Ribera c. 1651â1656, oil on panel
1010:Archduke Leopold Willem in his gallery at Brussels
814:
661:On 25 April 1690, David Teniers died in Brussels.
283:and Dymphna de Wilde. His father was a painter of
1366:In one of his guardroom interiors referred to as
3546:
2517:Het Gulden Cabinet vande Edel Vry Schilder-Const
1260:started to paint these 'monkey scenes' as well.
672:is also presumed to have studied under Teniers.
465:grandfather Julian Taisnier, who had moved from
2696:Landscape with a Drover and his Herd by a River
2632:in: Vlaanderen. Jaargang 56(2007), pp. 215â219
2551:, Metropolitan Museum of Art, 1984, p. 255â268.
191:(bapt. 15 December 1610 â 25 April 1690) was a
3105:A guardroom with a self-portrait of the artist
2901:, Metropolitan Museum of Art, 1998, p. 129-137
1369:A guardroom with a self-portrait of the artist
1352:A guardroom with a self-portrait of the artist
530:Mountain landscape with a gypsy fortune teller
3391:
3377:
3187:Guardroom with the Deliverance of Saint Peter
2977:Monkey Madness in Seventeenth-Century Antwerp
2445:, Getty Publications, 1 January 1997, p. 132.
1839:
1779:were influenced by his scenes of alchemists.
1507:Guardroom with the Deliverance of Saint Peter
1304:Guardroom with the Deliverance of Saint Peter
3334:Chardin and the Bourgeois Ideals of his Time
3280:
3278:
2979:, in: The Rubenianum Quarterly, 2012 2, p. 5
2946:The principal engravers were: Jan van Troyen
1389:
733:Teniers's early works show the influence of
487:
270:
2501:, Oud-Holland 25 (1907), p. 9â26; p. 14â19
2339:Geschiedenis der Antwerpsche schilderschool
1363:motif of the transience of power and fame.
1091:('Theatre of Paintings'). The cover of the
3416:The Oude Voetboog Guild in the Grote Markt
3384:
3370:
3264:
3262:
3220:at the Staatliche Kunstsammlungen Dresden
2841:, Courtauld Institute of Art Gallery, 2006
1846:
1832:
1589:An example of such a collaboration is the
725:and hermit saints in grottoes or deserts.
31:
3275:
3004:
3002:
3000:
2839:David Teniers and the Theatre of Painting
242:, the art-loving Governor General of the
2928:
2926:
2837:Ernst Vegelin van Claerbergen (editor),
2833:
2831:
2755:
2753:
2422:
2420:
2303:at the Sir John Soane's Museum in London
1742:
1641:
1549:
1516:
1488:Village doctor looking at a urine sample
1473:
1458:
1393:
1346:
1298:
1216:
1177:
1102:
1064:
1019:
985:
899:
850:
835:
798:
770:
739:
684:
634:
589:
524:
445:
348:
301:
3259:
3233:David Teniers II and Jan van Kessel I,
2971:
2969:
2909:
2907:
2849:
2847:
2804:Die Sammlung Erzherzog Leopold Wilhelms
2775:
2773:
2771:
2760:David Teniers the Younger (1610â1690),
3547:
3498:Archduke Leopold Wilhelm Hunting Heron
3286:MĂŒnchener Jahrbuch der bildenden Kunst
3116:
3114:
2997:
2893:
2891:
2889:
2707:
2705:
2643:
2641:
2622:
2620:
2618:
2599:at Baroque in the Southern Netherlands
2534:
2532:
2530:
2455:
2453:
2451:
2401:at Baroque in the Southern Netherlands
2333:
2331:
2329:
1479:Village doctor examining a urine flask
747:, between 1630 and 1645, oil on copper
275:David Teniers the Younger was born in
3365:
2923:
2877:Dauid Teniers suĂŠ Ser: Pictor domest:
2828:
2813:
2750:
2689:
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2417:
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2325:
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2243:Netherlands Institute for Art History
2234:
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2228:
2215:
2213:
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2209:
2207:
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2177:
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2057:
2054:
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2039:
2037:
2032:
2030:
2025:
2023:
1983:
1981:
1945:
1943:
1934:
1932:
1927:
1925:
1907:
1905:
1887:
1885:
1879:
1877:
1872:
1870:
1868:
1866:
1493:Royal Museums of Fine Arts of Belgium
1058:
1005:Royal Museums of Fine Arts of Belgium
794:Royal Museums of Fine Arts of Belgium
745:Peasants playing cards in an interior
416:and others, who worked after Rubens'
238:and the curator of the collection of
3238:at the Thyssen-Bornemisza Collection
2966:
2904:
2880:Obsequio tantum seruiit ista manus.
2844:
2768:
2602:
2541:
2486:] at historians of Netherlandish art
2404:
2341:, Antwerpen, 1883, p. 754, 981â1008
2277:
2275:
2261:
2259:
2257:
2255:
2253:
1637:
1436:(between circa 1640 and circa 1650,
888:
759:. He was an important innovator of
504:James Hamilton, 1st Duke of Hamilton
199:, draughtsman, miniaturist painter,
3312:Jean-Baptiste Greuze: The Laundress
3304:
3129:
3111:
2982:
2886:
2702:
2638:
2615:
2527:
2467:
2448:
2337:Frans Jozef Peter Van den Branden,
1294:
560:were among his patrons. Only king
368:, a hunting lodge of the king near
16:Flemish Baroque painter (1610â1690)
13:
2936:, Getty Publications, 2007, p. 156
2918:and the John G. Johnson Collection
2684:
2489:
2384:
2348:
2306:
2288:
2225:
2200:
2055:Hieronymous van Kessel the Younger
786:Teniers's later works such as his
652:Antwerp Royal Academy of Fine Arts
14:
3621:
3343:
3314:, Getty Publications, 2000, p. 40
3190:at the Metropolitan Museum of Art
2920:at the Philadelphia Museum of Art
2666:, Lannoo Uitgeverij, 1999, p. 342
2272:
2250:
1545:
3349:
3272:, Ashgate Publishing, Ltd., 2012
2871:Biographies d'Artistes Anversois
1338:Jan Baptist Tijssens the Younger
174:
3326:
3317:
3291:
3241:
3226:
3208:
3193:
3178:
3163:
3145:
3096:
3078:
3063:
3045:
3030:
3017:
2951:
2939:
2862:
2795:
2782:
2735:
2720:
2669:
2656:
2587:
2578:
2569:
2554:
2508:
2441:Marcus B. Burke, Peter Cherry,
2435:
924:Hieronymus Francken the Younger
815:Country and pastoral landscapes
3202:Still-life with overturned jug
2366:
2222:at the National Gallery of Art
1531:Still-life with overturned jug
1522:Still-life with overturned jug
1498:
1399:An alchemist in his laboratory
1240:, who was quickly followed by
960:Wilhelm Schubert van Ehrenberg
1:
2281:Karel Davids, Bert De Munck,
2193:
1649:, c. 1660â1670, oil on canvas
909:, c. 1647â1651, oil on copper
690:The Temptation of St. Anthony
598:
454:
398:Thomas Willeboirts Bosschaert
310:
3090:at the Museo del Prado site
3057:at the Museo del Prado site
2678:River landscape with rainbow
2563:at the Museo del Prado site
1795:Jean-Baptiste-Siméon Chardin
1738:
1183:Smoking and drinking monkeys
1173:
823:River landscape with rainbow
804:River landscape with rainbow
728:
554:William II, Prince of Orange
127:Anna Brueghel (m. 1637â1656)
7:
3288:, xxxii, 1981, pp. 115â150.
3200:David Teniers the Younger,
3185:David Teniers the Younger,
2991:Monkeys feasting (singerie)
2825:at the Museo del Prado site
1929:Pieter Brueghel the Younger
1820:
806:, after 1644, oil on canvas
680:
532:, after 1644, oil on canvas
10:
3626:
3585:Flemish landscape painters
2792:, ProQuest, 2008, p. 30-31
2220:Teniers the Younger, David
1769:Frans van Mieris the Elder
1580:Jan van Kessel the Younger
1512:Metropolitan Museum of Art
1446:Frans van Mieris the Elder
1412:Kupferstichkabinett Berlin
1238:Frans Francken the Younger
1146:Old Age in Search of Youth
1141:Metropolitan Museum of Art
1135:Teniers's modelli and the
920:Frans Francken the Younger
550:Christina, Queen of Sweden
546:Frederik Hendrik of Orange
130:Isabella de Fren (m. 1656)
3590:Flemish portrait painters
3555:David Teniers the Younger
3526:
3508:
3399:
3393:David Teniers the Younger
2650:A cobbler in his workshop
2135:
2133:
2131:
2125:
2123:
2121:
2109:
2107:
2093:
2089:
2087:
2085:
2079:
2077:
2075:
2052:
2042:David Teniers the Younger
2017:
2015:
2013:
2011:
2005:
2003:
2001:
1995:
1993:
1991:
1979:
1975:
1973:
1971:
1969:
1967:
1965:
1963:
1961:
1955:
1953:
1951:
1919:
1917:
1915:
1903:
1899:
1893:
1808:A cobbler in his workshop
1628:Adam Frans van der Meulen
1416:Pieter Brueghel the Elder
1390:Physicians and alchemists
1376:, which often depicted a
1149:attributed by Teniers to
968:Balthasar van den Bossche
640:A peasant holding a glass
488:Court painter in Brussels
271:Initial career in Antwerp
185:David Teniers the Younger
173:
168:
157:
147:
136:
121:
113:
105:
97:
71:
49:
38:Portrait of David Teniers
30:
25:David Teniers the Younger
23:
3580:Flemish history painters
3570:Flemish Baroque painters
3126:at the Leiden Collection
2498:Die NiederlÀnder in Wien
2464:at the Courtauld Gallery
2172:Jan van Kessel the Elder
2034:Jan Brueghel the Younger
1874:Pieter Bruegel the Elder
1783:that time, particularly
1763:. In the Dutch Republic
1665:Jan van Kessel the Elder
1632:Jan van Kessel the Elder
1310:Teniers painted several
1284:The Artist in his studio
1234:Pieter Bruegel the Elder
995:, 1650â52, oil on canvas
948:Jan van Kessel the Elder
778:, c. 1660, oil on canvas
723:Temptation of St Anthony
520:Kunsthistorisches Museum
512:Pieter Bruegel the Elder
508:Hans Holbein the Younger
291:. David was baptised at
240:Archduke Leopold Wilhelm
3121:Jacob van Toorenvliet,
3070:Gillis II van Tilborgh
2473:Teresa Posada Kubissa,
2298:Dr Christoph Vogtherr,
1466:, c. 1650, oil on panel
1408:drawing of an alchemist
1306:, c. 1645, oil on panel
1286:(private collection, a
1224:, c. 1633, oil on panel
1185:, c. 1660, oil on panel
1070:Jesus among the Doctors
1034:Royal Alcazar of Madrid
1015:Jan Anton van der Baren
980:cabinets of curiosities
976:cabinets of curiosities
675:
571:Jan Anton van der Baren
431:, Rubens' second wife,
332:Museo del Prado, Madrid
281:David Teniers the Elder
265:
193:Flemish Baroque painter
152:David Teniers the Elder
3575:Flemish genre painters
3011:Guardroom with monkeys
2608:Ingrid A. Cartwright,
1936:Jan Brueghel the Elder
1751:
1650:
1597:Nicolaes van Verendael
1558:
1525:
1482:
1467:
1402:
1383:Guardroom with monkeys
1355:
1354:, 1640s, oil on copper
1307:
1276:Guardroom with monkeys
1258:Nicolaes van Verendael
1242:Jan Brueghel the Elder
1225:
1222:Guardroom with monkeys
1186:
1121:
1077:
1028:
996:
916:Jan Brueghel the Elder
910:
859:
858:, 1660s, oil on canvas
844:
843:, 1660s, oil on canvas
807:
779:
748:
693:
646:
605:
533:
461:
425:Jan Brueghel the Elder
357:
317:
307:Smokers in an interior
3600:Painters from Antwerp
3157:on the Prado website
2627:Karolien De Clippel,
2378:on the Prado website
2373:Javier PortĂșs PĂ©rez,
1750:, 1650, oil on canvas
1746:
1645:
1553:
1520:
1477:
1462:
1397:
1350:
1302:
1230:Pieter van der Borcht
1228:The Flemish engraver
1220:
1207:Madonna with a monkey
1181:
1106:
1068:
1023:
1003:and the other in the
989:
936:Cornelis de Baellieur
903:
854:
839:
802:
774:
743:
688:
638:
593:
528:
482:Jan Baptist Borrekens
449:
356:, 1645, oil on canvas
352:
305:
203:painter, copyist and
3358:at Wikimedia Commons
3332:Ella Snoep-Reitsma,
3172:A guardroom interior
3154:OperaciĂłn quirĂșrgica
3103:David Teniers (II),
3087:Un cuerpo de guardia
3054:Un cuerpo de guardia
3039:A guardroom interior
3037:David Teniers (II),
2676:David Teniers (II),
2648:David Teniers (II),
2594:Matthias Depoorter,
2396:Matthias Depoorter,
2159:Jan Baptist Brueghel
1803:Jean-Baptiste Greuze
1568:Jan Davidsz. de Heem
1540:Jan Davidsz. de Heem
1524:, 1635, oil on panel
1481:, 1645, oil on panel
500:Charles I of England
469:(now located in the
402:Theodoor van Thulden
327:Gerusalemme Liberata
244:Habsburg Netherlands
3250:Les Bulles de savon
2960:in Larousse online
2788:Scott J. Mangieri,
2547:David Teniers, in:
2145:Jan Pieter Brueghel
1761:David Rijckaert III
1757:Gillis van Tilborgh
1698:Counter-Reformation
1572:Adriaen van Utrecht
1424:David Rijckaert III
1291:some of his works.
1280:Festival of monkeys
1272:Festival of monkeys
1267:Festival of monkeys
1193:Allegory of Vanitas
964:Jacob de Formentrou
956:Gillis van Tilborgh
952:Hieronymus Janssens
670:Gillis van Tilborgh
666:Thomas van Apshoven
615:In 1660, Teniers's
575:Don Juan of Austria
562:Louis XIV of France
336:Guild of Saint Luke
3517:Theatrum Pictorium
3356:David Teniers (II)
3170:David Teniers II,
3052:David Teniers II,
3009:David Teniers II,
2916:Theatrum Pictorium
2897:Charles Sterling,
2854:Theatrum pictorium
2742:David Teniers II,
2727:David Teniers II,
2712:David Teniers II,
2699:at Sphinx Fine Art
2694:David Teniers II,
2653:at Sphinx Fine Art
2427:David Teniers II,
2375:Torre de la Parada
2239:David Teniers (II)
2050:Paschasia Brueghel
2027:Ambrosius Brueghel
1752:
1721:Gualterus Gysaerts
1682:Hendrick van Balen
1651:
1584:Gualterus Gysaerts
1559:
1526:
1483:
1468:
1428:Adriaen van Ostade
1403:
1356:
1308:
1226:
1187:
1168:Theatrum Pictorium
1137:Theatrum pictorium
1122:
1117:Theatrum Pictorium
1093:Theatrum pictorium
1088:Theatrum pictorium
1078:
1060:Theatrum pictorium
1029:
997:
911:
860:
845:
808:
780:
749:
694:
647:
617:Theatrum Pictorium
610:Council of Brabant
606:
584:Het Gulden Cabinet
558:Philip IV of Spain
534:
495:Jan van den Hoecke
462:
366:Torre de la Parada
362:Philip IV of Spain
358:
318:
217:landscape painting
3542:
3541:
3479:
3471:
3463:
3455:
3447:
3439:
3431:
3354:Media related to
3310:Colin B. Bailey,
3085:Abraham Teniers,
2994:at the Rubenshuis
2561:David Teniers III
2515:Cornelis de Bie,
2482:978-2-503-53677-4
2285:, Routledge, 2016
2191:
2190:
2183:
2182:
1773:Jacob Toorenvliet
1725:martyrs of Gorkum
1704:prevalent at the
1690:Peter Paul Rubens
1686:Andries Danielsz.
1638:Garland paintings
1576:Jacques d'Arthois
1450:Jacob Toorenvliet
1250:Sebastiaen Vrancx
928:Willem van Haecht
889:Gallery paintings
429:David Teniers III
293:St. James' Church
289:cabinet paintings
258:painters such as
182:
181:
79:(aged 79â80)
3617:
3475:
3467:
3459:
3451:
3443:
3435:
3427:
3386:
3379:
3372:
3363:
3362:
3353:
3337:
3330:
3324:
3321:
3315:
3308:
3302:
3295:
3289:
3282:
3273:
3266:
3257:
3256:
3248:Jan van Kessel,
3245:
3239:
3230:
3224:
3223:
3212:
3206:
3197:
3191:
3182:
3176:
3167:
3161:
3160:
3149:
3143:
3142:
3133:
3127:
3118:
3109:
3100:
3094:
3093:
3082:
3076:
3067:
3061:
3060:
3049:
3043:
3034:
3028:
3021:
3015:
3006:
2995:
2989:Jan Brueghel I,
2986:
2980:
2973:
2964:
2963:
2955:
2949:
2943:
2937:
2930:
2921:
2914:David Teniersâs
2911:
2902:
2895:
2884:
2883:
2869:Th. van Lerius,
2866:
2860:
2851:
2842:
2835:
2826:
2817:
2811:
2810:
2799:
2793:
2786:
2780:
2777:
2766:
2757:
2748:
2739:
2733:
2724:
2718:
2709:
2700:
2691:
2682:
2673:
2667:
2660:
2654:
2645:
2636:
2635:
2624:
2613:
2606:
2600:
2591:
2585:
2582:
2576:
2573:
2567:
2566:
2558:
2552:
2545:
2539:
2536:
2525:
2523:
2512:
2506:
2504:
2493:
2487:
2471:
2465:
2457:
2446:
2439:
2433:
2424:
2415:
2413:
2408:
2402:
2398:David Teniers II
2393:
2382:
2381:
2370:
2364:
2355:
2346:
2344:
2335:
2304:
2295:
2286:
2279:
2270:
2267:David Teniers II
2263:
2248:
2247:
2236:
2223:
2217:
2152:Abraham Brueghel
2040:Anna Brueghel x
1864:
1863:
1848:
1841:
1834:
1825:
1824:
1714:The Soap Bubbles
1656:The Soap Bubbles
1647:The Soap Bubbles
1312:guardroom scenes
1295:Guardroom scenes
1112:Nikolaus van Hoy
789:Flemish kermesse
603:
600:
538:Anthonius Triest
459:
456:
441:Hermitage Museum
414:Jacob Peter Gowy
354:Village festival
315:
312:
287:and small-scale
252:Anthony van Dyck
209:history painting
189:David Teniers II
178:
109:David Teniers II
106:Other names
78:
42:Philip Fruytiers
35:
21:
20:
3625:
3624:
3620:
3619:
3618:
3616:
3615:
3614:
3610:Sibling artists
3545:
3544:
3543:
3538:
3534:Brueghel family
3522:
3504:
3395:
3390:
3346:
3341:
3340:
3331:
3327:
3322:
3318:
3309:
3305:
3296:
3292:
3283:
3276:
3268:Susan Merriam,
3267:
3260:
3254:
3246:
3242:
3231:
3227:
3221:
3215:David Teniers,
3213:
3209:
3198:
3194:
3183:
3179:
3168:
3164:
3158:
3152:David Teniers,
3150:
3146:
3140:
3135:Claire Witlox,
3134:
3130:
3119:
3112:
3101:
3097:
3091:
3083:
3079:
3072:Guardroom scene
3068:
3064:
3058:
3050:
3046:
3035:
3031:
3022:
3018:
3007:
2998:
2987:
2983:
2975:Bert Schepers,
2974:
2967:
2961:
2956:
2952:
2944:
2940:
2931:
2924:
2912:
2905:
2896:
2887:
2881:
2867:
2863:
2852:
2845:
2836:
2829:
2820:David Teniers,
2818:
2814:
2808:
2800:
2796:
2787:
2783:
2778:
2769:
2758:
2751:
2740:
2736:
2725:
2721:
2710:
2703:
2692:
2685:
2674:
2670:
2662:Guy Delmarcel,
2661:
2657:
2646:
2639:
2633:
2625:
2616:
2607:
2603:
2596:Adriaen Brouwer
2592:
2588:
2583:
2579:
2574:
2570:
2564:
2559:
2555:
2546:
2542:
2537:
2528:
2521:
2513:
2509:
2502:
2494:
2490:
2472:
2468:
2458:
2449:
2440:
2436:
2425:
2418:
2411:
2409:
2405:
2394:
2385:
2379:
2371:
2367:
2356:
2349:
2342:
2336:
2307:
2296:
2289:
2280:
2273:
2264:
2251:
2245:
2237:
2226:
2218:
2201:
2196:
1858:
1855:Brueghel family
1852:
1823:
1799:Ătienne Jeaurat
1785:Antoine Watteau
1748:Peasant Wedding
1741:
1659:(c. 1660â1670,
1640:
1620:Willem van Herp
1618:RamĂłn Moncada,
1601:Carstian Luyckx
1548:
1536:Pieter de Bloot
1501:
1410:dated to 1558 (
1401:, oil on canvas
1392:
1378:stock character
1297:
1254:Abraham Teniers
1176:
1082:Abraham Teniers
1063:
944:Gonzales Coques
891:
817:
753:Adriaen Brouwer
731:
683:
678:
630:Matthijs Musson
622:HĂ©lĂšne Fourment
604:, oil on canvas
601:
581:reports in his
579:Cornelis de Bie
490:
457:
433:HĂ©lĂšne Fourment
386:Cornelis de Vos
313:
273:
268:
260:Antoine Watteau
162:Abraham Teniers
93:
80:
76:
67:
54:
45:
26:
17:
12:
11:
5:
3623:
3613:
3612:
3607:
3605:Bruegel family
3602:
3597:
3592:
3587:
3582:
3577:
3572:
3567:
3562:
3557:
3540:
3539:
3537:
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3510:
3506:
3505:
3503:
3502:
3494:
3486:
3485:
3484:
3473:
3465:
3457:
3449:
3441:
3433:
3420:
3412:
3408:The Guard Room
3403:
3401:
3397:
3396:
3389:
3388:
3381:
3374:
3366:
3360:
3359:
3345:
3344:External links
3342:
3339:
3338:
3325:
3316:
3303:
3297:JĂșlia TĂĄtrai,
3290:
3274:
3258:
3253:at the Louvre
3240:
3225:
3207:
3192:
3177:
3162:
3144:
3128:
3110:
3095:
3077:
3062:
3044:
3029:
3023:Jochai Rosen,
3016:
2996:
2981:
2965:
2950:
2938:
2932:Maria H. Loh,
2922:
2903:
2885:
2861:
2858:British Museum
2843:
2827:
2812:
2794:
2781:
2767:
2749:
2734:
2719:
2701:
2683:
2668:
2655:
2637:
2614:
2601:
2586:
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2568:
2553:
2540:
2526:
2519:, 1662, p. 338
2507:
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2466:
2447:
2434:
2416:
2403:
2383:
2365:
2347:
2305:
2287:
2271:
2265:Hans Vlieghe,
2249:
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1828:
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1819:
1811:and Chardin's
1790:fĂȘtes galantes
1740:
1737:
1694:Daniel Seghers
1639:
1636:
1608:Moncada family
1564:Lucas van Uden
1547:
1546:Collaborations
1544:
1500:
1497:
1391:
1388:
1326:Dutch Republic
1316:corps de garde
1296:
1293:
1175:
1172:
1062:
1057:
1053:British Museum
1027:, oil on panel
1001:Petworth House
932:Hendrik Staben
890:
887:
875:Boughton House
816:
813:
730:
727:
692:, oil on panel
682:
679:
677:
674:
602: 1640â49
489:
486:
460:, oil on panel
458: 1644â45
437:group portrait
406:Jan Boeckhorst
382:Jacob Jordaens
322:Torquato Tasso
316:, oil on panel
279:as the son of
272:
269:
267:
264:
213:genre painting
180:
179:
171:
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159:
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140:11, including
138:
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75:April 25, 1690
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3217:Vor der KĂŒche
3211:
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3075:at Jean Moust
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3026:
3020:
3014:at Christie's
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2802:Karl SchĂŒtz,
2798:
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2785:
2776:
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2732:at Christie's
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2717:at Christie's
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2496:A. Hajdeski,
2492:
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2470:
2463:
2462:
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2432:at Christie's
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2019:
2009:
2007:
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1777:Cornelis Bega
1774:
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1749:
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1669:four elements
1666:
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1621:
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1510:(c. 1645â47,
1509:
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1464:The alchemist
1461:
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1454:Cornelis Bega
1451:
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1334:Cornelis Mahu
1331:
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1288:workshop copy
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940:Hans Jordaens
937:
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673:
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644:oil on copper
641:
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411:
410:Peeter Symons
407:
403:
399:
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394:Peter Snayers
391:
387:
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379:
375:
374:Metamorphoses
371:
367:
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329:
328:
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114:Occupation(s)
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52:
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34:
29:
22:
19:
3515:
3496:
3488:
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3477:Schleissheim
3422:
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3406:
3392:
3333:
3328:
3319:
3311:
3306:
3298:
3293:
3285:
3269:
3249:
3243:
3234:
3228:
3216:
3210:
3205:at Sotheby's
3201:
3195:
3186:
3180:
3175:at Sotheby's
3171:
3165:
3159:(in Spanish)
3153:
3147:
3136:
3131:
3122:
3108:at Sotheby's
3104:
3098:
3092:(in Spanish)
3086:
3080:
3071:
3065:
3059:(in Spanish)
3053:
3047:
3042:at Sotheby's
3038:
3032:
3024:
3019:
3010:
2990:
2984:
2976:
2953:
2941:
2933:
2915:
2898:
2876:
2870:
2864:
2838:
2821:
2815:
2803:
2797:
2789:
2784:
2765:at Sotheby's
2761:
2747:at Sotheby's
2743:
2737:
2728:
2722:
2713:
2695:
2681:at Sotheby's
2677:
2671:
2663:
2658:
2649:
2628:
2609:
2604:
2595:
2589:
2580:
2571:
2565:(in Spanish)
2556:
2548:
2543:
2516:
2510:
2497:
2491:
2474:
2469:
2460:
2442:
2437:
2428:
2406:
2397:
2380:(in Spanish)
2374:
2368:
2359:
2338:
2299:
2282:
2266:
2041:
1813:
1807:
1789:
1781:
1765:Thomas Wijck
1753:
1747:
1731:, is in the
1718:
1713:
1678:
1655:
1652:
1646:
1605:
1591:
1588:
1560:
1554:
1530:
1527:
1521:
1506:
1502:
1486:
1484:
1478:
1469:
1463:
1442:Thomas Wijck
1432:
1404:
1398:
1382:
1368:
1365:
1357:
1351:
1342:
1330:Anton Goubau
1321:The Sentinel
1319:
1315:
1309:
1303:
1283:
1279:
1275:
1271:
1266:
1262:
1227:
1221:
1206:
1192:
1188:
1182:
1167:
1165:
1156:Adam and Eve
1155:
1145:
1136:
1134:
1125:
1123:
1115:
1107:
1098:
1092:
1086:
1079:
1069:
1059:
1047:
1041:
1038:
1030:
1024:
1009:
998:
990:
979:
975:
972:
912:
904:
892:
882:
878:
869:
864:
861:
855:
846:
840:
829:
822:
818:
809:
803:
788:
785:
781:
775:
750:
744:
732:
722:
719:
695:
689:
663:
660:
656:
648:
639:
616:
614:
607:
594:
582:
567:
535:
529:
516:Jan van Eyck
491:
463:
451:Card players
450:
422:
390:Jan Cossiers
359:
353:
340:
326:
319:
306:
274:
233:
229:tavern scene
188:
184:
183:
77:(1690-04-25)
37:
18:
3565:1690 deaths
3560:1610 births
3509:Other works
3501:(1652-1656)
3255:(in French)
3222:(in German)
2962:(in French)
2882:(in French)
2809:(in German)
2503:(in German)
2412:(in French)
1733:Rijksmuseum
1624:Luigi Primo
1499:Still lifes
1438:Mauritshuis
1246:the Younger
1120:, 1656â1660
958:as well as
830:The Reaping
542:Stadtholder
522:in Vienna.
314: 1637
285:altarpieces
205:art curator
98:Nationality
3549:Categories
3461:Rothschild
3141:(in Dutch)
2958:'Singerie'
2634:(in Dutch)
2522:(in Dutch)
2343:(in Dutch)
2246:(in Dutch)
2194:References
1198:Antichrist
1161:Padovanino
873:(c. 1660,
715:still life
225:still life
197:printmaker
3482:uncertain
3432:(c. 1650)
3400:Paintings
3123:Alchemist
1739:Influence
1710:cartouche
1626:five and
1433:Alchemist
1420:Jan Steen
1174:Singeries
1151:Correggio
1130:grisaille
895:on copper
883:gentleman
879:Het Steen
865:Het Steen
735:Elsheimer
729:Evolution
707:landscape
642:, 1640s,
439:in 1643 (
169:Signature
164:(brother)
142:David III
3469:Galdiano
3445:Petworth
3437:Brussels
1821:Ancestry
1706:Habsburg
1491:(1640s,
1318:such as
1278:and the
1200:and the
1153:and the
711:portrait
681:Subjects
474:province
418:modellos
324:'s epic
221:portrait
201:staffage
137:Children
83:Brussels
3527:Related
2856:at the
2241:at the
1674:vanitas
1615:Catalan
1361:vanitas
1143:of the
1126:modelli
1074:modello
792:(1652,
766:tronies
757:Haarlem
699:history
544:Prince
478:Hainaut
471:Walloon
297:Abraham
277:Antwerp
234:He was
122:Spouses
101:Flemish
87:Brabant
61:Brabant
57:Antwerp
3493:(1652)
3472:(1653)
3464:(1653)
3456:(1651)
3448:(1651)
3440:(1651)
3429:Vienna
3419:(1643)
3411:(1642)
2480:
1814:Canary
1661:Louvre
1374:tronie
1212:Virgin
1159:after
540:, the
370:Madrid
256:Rococo
248:Rubens
158:Family
148:Father
44:, 1655
3453:Prado
1612:noble
1202:Devil
1114:from
1110:, by
761:genre
703:genre
344:Dover
91:Spain
65:Spain
2478:ISBN
1857:tree
1801:and
1775:and
1759:and
1702:Mary
1692:and
1610:, a
1599:and
1582:and
1452:and
1426:and
1336:and
1248:and
1210:the
1166:The
966:and
950:and
930:and
918:and
713:and
676:Work
626:Perk
556:and
514:and
378:Ovid
266:Life
250:and
223:and
72:Died
53:1610
50:Born
1514:).
1456:.
1314:or
476:of
467:Ath
443:).
376:of
187:or
40:by
3551::
3277:^
3261:^
3113:^
2999:^
2968:^
2925:^
2906:^
2888:^
2846:^
2830:^
2770:^
2752:^
2704:^
2686:^
2640:^
2617:^
2529:^
2450:^
2419:^
2386:^
2350:^
2308:^
2290:^
2274:^
2252:^
2227:^
2202:^
1797:,
1771:,
1767:,
1716:.
1688:,
1684:,
1603:.
1586:.
1574:,
1570:,
1566:,
1448:,
1444:,
1422:,
1414:)
1340:.
1332:,
1244:,
1072:,
970:.
962:,
946:,
942:,
938:,
926:,
717:.
709:,
705:,
701:,
599:c.
597:,
552:,
548:,
510:,
455:c.
453:,
412:,
408:,
404:,
400:,
396:,
392:,
388:,
384:,
338:.
311:c.
309:,
262:.
219:,
215:,
211:,
195:,
89:,
85:,
63:,
59:,
3480:(
3385:e
3378:t
3371:v
2524:.
2505:.
2484:.
2414:.
2345:.
1847:e
1840:t
1833:v
1051:(
330:(
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
