Petrus Christus (ca. 1410/1420–1475/1476) was an Early Netherlandish painter active in Bruges from 1444.

Christus was born in Baarle, near Antwerp and Breda. Long considered a student of and successor to Jan van Eyck, his paintings have sometimes been confused with those of Van Eyck. At the death of Van Eyck in 1441, it was reasoned, Christus took over his master’s workshop. In fact, Christus purchased his Bruges citizenship in 1444, three years after Van Eyck’s death. Had he been an active pupil in Van Eyck’s Bruges workshop in 1441, he would have received his citizenship automatically after the customary period of one year and one day. In other words, Christus may be Van Eyck’s successor in the Bruges school, but he was by no means his pupil. In fact, recent research reveals that Christus, long seen only in his great predecessor’s light, was an independent painter whose work shows just as much influence from, among others, Dirk Bouts, Robert Campin and Rogier van der Weyden.
It is unknown whether Christus visited Italy, and brought style and technical accomplishments of the greatest Northern European painters directly to Antonello da Messina and other Italian artists, or whether his paintings were purchased by Italians. A document testifying to the presence of a “Piero da Bruggia” (Petrus from Bruges?) in Milan may suggest that he visited that city at the same time as Antonello, and the two artists may even have met. This might account for the remarkable similarities between the Portrait of a Man attributed to Christus in the Los Angeles County Museum of Art and many of Antonello’s portraits, including the supposed self-portrait in the National Gallery in London. It would also be a convenient means of explaining how Italian painters learned about oil painting and how Northern painters learned about linear perspective. Antonello, along with Giovanni Bellini, was one of the first Italian painters to use oil paint like his Netherlandish contemporaries. And Christus’ Virgin and Child Enthroned with Saints Francis and Jerome in Frankfurt, seemingly dated 1457 (the third digit is illegible), is the first known Northern picture to demonstrate accurate linear perspective. The composition of a Lamentation, now at the Metropolitan Museum of Art, seems so closely inspired a marble relief by Antonello Gagini in the cathedral at Palermo that it has been suggested that the picture may have been painted for an Italian client.

Portrait of a Young Girl, circa 1470. Gemäldegalerie, Berlin.
A late work, the reserved Portrait of a Young Girl belongs among the masterworks of Flemish painting, marking a new development in Netherlandish portraiture. It no longer shows the sitter in front of a neutral background, but in a concrete space defined by the wall panels. Christus had already perfected this format in his two portraits of 1446. The unknown woman, whose exquisite clothing suggests that she might come from France, radiates an aura of discretion and of nobility, while appearing slightly unreal in the elegant stylization of her form.
Christus died in Bruges in 1475 or 1476. Hans Memling succeeded him as the next great painter in Bruges.

Christus produced at least six signed and dated works, which form the basis for any other attributions to him. These are: the Portrait of Edward Grymeston (on loan to the National Gallery, London, 1446), the Portrait of a Carthusian (Metropolitan Museum of Art, New York, 1446), the so-called St. Eligius in His Shop (Metropolitan Museum of Art [Robert Lehman Collection], New York, 1449), the Virgin Nursing the Child (now in the Koninklijk Museum voor Schone Kunsten, Antwerp, 1449), the so-called “Berlin Altar Wings” with the Annunciation, Nativity, and Last Judgment (Gemaldegalerie, Staatliche Museen zu Berlin, 1452), and the Virgin and Child Enthroned with Saints Jerome and Francis (Stadelsches Kunstinstitut, Frankfurt-am-Main, 1457?–the digits are not clear). In addition, a pair of panels in the Groeningemuseum in Bruges (showing the Annunciation and Nativity) bears a date of 1452, but its authenticity is suspect. (Wikipedia)

Quentin Matsys[1] (Dutch: Quinten Matsijs) (1466–1529) was a painter in the Flemish tradition and a founder of the Antwerp school. He was born at Leuven, where legend states he was trained as an ironsmith before becoming a painter. Matsys was active in Antwerp for over 20 years, creating numerous works with religious roots and satirical tendencies.

Most early accounts of Matsys’ life are composed primarily of legend and very little contemporary accounts exist of the nature of his activities or character. According to J. Molanus’ Historiae Lovaniensium Matsys is known to be a native of Leuven with humble beginnings as a ironsmith. One of four children, Matsys was born to Joost Matsys (d. 1483) and Catherine van Kincken sometime between 4 April and 10 September 1466. Legend states that Matsys abandoned his career as a blacksmith to woo his wife, who found painting to be a more romantic profession, though Karel van Mander claimed this to be false, and the real reason was a sickness during which he was too weak to work at the smithy and instead decorated prints for the carnival celebrations.[2] Documented donations and possessions of Joost Matsys indicate that the family had a respectable income and that financial need was most likely not the reason Matsys turned to painting. During the period in which Matsys was active in Antwerp he took only four apprentices: Arian van Overbeke (master 1501, inscribed 1495), Willem Muelenbroec (inscribed 1501), Eduart Portugalois (master 1506, inscribed 1504), and Hennen Boeckmakere (inscribed 1510). It is widely believed that Joachim Patinir studied with Matsys at some point during his career and contributed to several of his landscapes. Lack of guild records during this time leaves Matsys’ travels to Italy and other parts of the Netherlands as part of his training up to question. For the most part, foreign influences on Matsys are inferred from his paintings and are considered to be a large portion of the artist’s training during the 16th century.

The roots of Matsys’ training are unknown, but his style reflects the artistic qualities of Dirk Bouts, who brought to Leuven the influence of Memling and van der Weyden. When Matsys settled at Antwerp at the age of twenty-five, his own style contributed importantly to reviving Flemish art along the lines of van Eyck and van der Weyden. Matsys departed from Leuven in 1491 when he became a master in the guild of painters at Antwerp. His most well known satirical works include The Ugly Duchess (1515), A Portrait of an Elderly Man (1513), and The Money Changer and His Wife (1514), all of which provide commentary on human feeling and society in general. He also painted religious altarpieces and triptych panels, the most famous of which was built for the Church of Saint Peter in Leuven.

Matsys work is considered to contain strong religious feeling—characteristic of traditional Flemish works—and is accompanied by a realism that often favored the grotesque. The faces of the boors of Steen or Ostade may well have had predecessors in the pictures of Matsys, though he was not inclined to use them in the same homely way. Matsys’ firmness of outline, clear modelling and thorough finish of detail stem from van de Weyden’s influence; from the van Eycks and Memling by way of Dirck Bouts, the glowing richness of transparent pigments. Matsys’ works generally reflect earnestness in expression, minutely detailed renderings, and subdued effects in light and shade. Like most Flemish artists of the time he paid a great deal of attention to jewelry, edging of garments, and ornamentation in general.

During the greater part of the 15th century, the centres in which the painters of the Low Countries most congregated were Tournai, Bruges, Ghent and Brussels. Leuven gained prominence toward the close of this period, employing workmen from all of the crafts including Matsys. Not until the beginning of the 16th century did Antwerp take the lead which it afterward maintained against Bruges, Ghent, Brussels, Mechelen and Leuven. Because no guild records were kept prior to 1494 in Leuven there is no concrete proof that Matsys attained his master’s status there; however, historians generally accept this to be the location of his early training because there he had not been previously registered in Antwerp as an apprentice. As a member of Antwerp’s Guild of Saint Luke, Matsysis considered to be one of its first notable artists. Existing records of guild laws and regulations from the 16th century indicate that it is highly unlikely that Matsys was self taught, despite accounts in Carel van Mander’s Schilderboek (1604) stating that Matsys studied under no artist.[3]

Most of the emphasis in his works lies not upon atmosphere, which is in fact given very little attention, but to the literalness of caricature: emphasizing the melancholy refinement of saints, the brutal gestures and grimaces of gaolers and executioners. Strenuous effort is devoted to the expression of individual character. A satirical tendency may be seen in the pictures of merchant bankers (Louvre and Windsor), revealing their greed and avarice. His other impulse, dwelling on the feelings of tenderness, may be noted in two replicas of the Virgin and Child at Berlin and Amsterdam, where the ecstatic kiss of the mother seems rather awkward. An expression of acute despair may be seen in a Lucretia in the museum at Vienna. The remarkable glow of the colour in these works; however, makes the Mannerist exaggerations palatable.
Matsys had considerable skill as a portrait painter. His Ægidius (Peter Gilles) which drew from Thomas More a eulogy in Latin verse, is but one of many, to which one may add the portrait of Maximilian of Austria in the gallery of Amsterdam. In this branch of his practice, Matsys was greatly influenced by his contemporaries Lucas van Leyden and Jan Mabuse. Matsys’ portraiture exhibits highly personal and individual emotional characteristics that reflect his adherence to realism as a technique.
In comparison to other Northern Renaissance artists such as Holbein and Dürer Matsys shies away from refined and subtle detailing. Because there are numerous connections between him and these masters, however, it can be concluded that his departure in techniques was deliberate and not an act of ignorance. He most likely met Holbein more than once on his way to England, and Dürer is believed to have visited his house at Antwerp in 1520. Matsys also became the guardian of Joachim Patinir’s children after the death of that painter, who is believed to have worked on some of the landscapes in Matsys’ pictures.

Matsys died at Antwerp in 1529. In spite of his religious devotion, several of his relatives died as a result of their faith. His sister Catherine and her husband suffered at Leuven in 1543 for what was then the capital offence of reading the Bible: he being decapitated, she allegedly buried alive in the square before the cathedral. In 1629 the first centennial of Matsys’ death was marked by a ceremony and erection of a relief plaque with an accompanying inscription on the facade of the Antwerp Cathedral. Benefactor Cornelius van der Geest is said to be responsible for the wording, stating: “in his time a smith and afterwards a famous painter”, keeping in accordance with the legends surrounding Matsys’ humble beginnings.

Matsys’ works include A Portrait of an Elderly Man (1513), A Grotesque Old Woman (c.1513) and The Money Changer and His Wife (1514).
A Grotesque Old Woman (or The Ugly Duchess) is perhaps the best-known of his works. It served as a basis for John Tenniel’s depiction of the Duchess in Alice’s Adventures in Wonderland. It is likely a depiction of a real person with Paget’s disease,[5] though it is sometimes said to be a metaphorical portrait of the Margaret, Countess of Tyrol, who was known as Maultasch, which, though literally translated “satchel mouth”, was used to mean “ugly woman” or “whore” (because of her marital scandals). His two large triptych altarpieces The Holy Kinship or Saint Anne Altarpiece (1507–1509) and The Entombment of the Lord (1508–1511) are also highly celebrated. Commissioned for The Church of Saint Peter in Leuven, they reflect strong religious feeling and precise detailing characteristic to the majority of his works.
Quentin’s son, Jan Matsys, inherited the art but did not seek to expand upon his father’s legacy. The earliest of his works, a St Jerome dated 1537, in the gallery of Vienna, as well as the latest, a Healing of Tobias of 1564, in the museum of Antwerp, are evidence of his tendency to substitute imitation for originality. Another son, Cornelis Matsys, was also a painter. Jan’s son, Quentin Metsys the Younger, was an artist of the Tudor court, and painted the Sieve Portrait of Elizabeth I of England.
Near the front of the Cathedral of Our Lady in Antwerp is a wrought-iron well, known as the “Matsys Well,” which according to tradition was made by the painter-to-be.
Matsys was regarded as a cult figure during the 17th century in Antwerp in addition to being one of the founders of the local school of painting (which climaxed with the career of Peter Paul Rubens).
The asteroid 9569 Quintenmatsijs was named in his honor. (Wikipedia)

Fotografii de Mihai Constantin