Jan Anthonie Coxie or Anthonie Coxie [1] (c. 1660 - 1720) was a Flemish painter and draughtsman mainly known for his portrait and history paintings. After starting his career in Flanders he moved abroad and worked in Amsterdam, Berlin, Mainz and Milan where he worked for an elite clientele. [2]
Coxie was born in Mechelen some time between 1650 and 1670 in an artistic family with a long tradition going back to the 16th century. His father was the landscape painter Jan Coxie who was a great grandson of Michiel Coxie, one of the leading Flemish Renaissance painters who was known as the 'Flemish Raphael'. [2] [3] His father Jan married Jeanne Biset in 1650 or in 1667 according to different sources. [2] Jan Anthonie had a brother, Jan Michiel, who also became a painter and with whom he is sometimes confused. [4]
Jan Anthonie studied with his father as well as with the prominent painter Charles Emmanuel Biset. [2] Charles Emmanuel Biset was the brother of Jeanne Biset (Jan Anthonie’s mother) and director of the Academy of Antwerp.
Jan Anthonie commenced his career in Mechelen around the year 1691. That year he was commissioned by the city of Mechelen to make a portrait of Charles II of Spain, the last Habsburg ruler of Spain and also ruler of the Southern Netherlands. In 1698 he painted the figures in a landscape made by Jacques d'Arthois for the St. James Church in Bruges.
From 1699 onwards he is recorded in Amsterdam. In 1703 he became poorter of Amsterdam. [2] Wybrand de Geest (II) was his pupil. De Geest published in 1702 a book with engravings of Antique sculptures under the title Het Kabinet der Statuen ons van d’Aloudheid Nagelaten, which he dedicated to his master and friend Coxie. It is believed that Jan Anthonie Coxie is the Coxie that the early Dutch biographer Arnold Houbraken claimed had painted the grisaille representations of the liberal arts on the panels that covered a triptych made by Gerard Dou. This triptych was in the collection of William I of the Netherlands, but is now lost although a copy by Willem Joseph Laquy exists. The grisaille paintings by Coxie made clear that the three paintings by Gerard Dou, which depicted genre scenes, were in fact allegories of the liberal arts. [5] [6]
Although successful as testified by the praises sung of his work by local poets Sybrand Feitama and François Halma, he left Amsterdam and is recorded in Berlin from 1705 to 1708. [4] [2] He became the court painter of Frederick I of Prussia and decorated the ceilings of Charlottenburg Palace, the Berlin Palace and other residences of Frederick I with allegorical scenes praising the deeds of the king. He painted the walls and an altarpiece in the Chapel at Charlottenburg Palace. [7]
After the death of his patron, Coxie left Berlin for Mainz in 1713. Here he worked for the court. [8] He did not stay in Mainz for long but moved around 1713 to Milan. He was known in Italy as 'Monsù Coixe'. He would remain active in Lombardia until his death, probably in Milan, in 1720. [2]
He painted portraits as well as historical and allegorical paintings. His style is regarded as following that of Peter Paul Rubens and Anthony van Dyck. Whilst in Italy he produced copies after the work of these two leading Flemish Baroque artists. [9] He was regarded as a capable draughtsman. [7]
One of his masterpieces produced during his early career in Flanders is the large Group Portrait of the Fayd'Herbe Family in an Architectural Setting (in a private collection) of 1693. [4] From his Amsterdam period, mainly portraits of prominent personalities such as the Portrait of Nicolaas van der Meer (Museum Catharijneconvent in Utrecht) and the Portrait of Antoni de Mestral (Breda's Museum) have been preserved.
Of the works from his Berlin period, the ceiling frescos he painted for the porcelain room in the Charlottenburg Palace are his best known. The frescos can be regarded as propaganda for the glorious rule of Frederick I. They represent Aurora, the Goddess of Dawn, in her seven-horsed chariot chasing away Night and clearing the way for the Sun-God Apollo, who approaches in his chariot in a blaze of light. Hovering overhead, Mercury heralds the arrival of the life-giving god and Saturn ushers in the Golden Age with his scythe. He also included images of the Four Continents as well as the Four Seasons, which are familiar allusions to political power and thus affirm the greatness of Frederick I. [10]
Bernard van Orley, also called Barend or Barent van Orley, Bernaert van Orley or Barend van Brussel, was a versatile Flemish artist and representative of Dutch and Flemish Renaissance painting, who was equally active as a designer of tapestries and, at the end of his life, stained glass. Although he never visited Italy, he belongs to the group of Italianizing Flemish painters called the Romanists, who were influenced by Italian Renaissance painting, in his case especially by Raphael.
Michiel Coxie the Elder, Michiel Coxcie the Elder or Michiel van Coxcie, Latinised name Coxius, was a Flemish painter of altarpieces and portraits, a draughtsman and a designer of stained-glass windows, tapestries and prints. He worked for patrons in the principal cities of Flanders. He became the court painter to successively Emperor Charles V and King Philip II of Spain.
Michiel Janszoon van Mierevelt, often abbreviated as Michiel Jansz. and the surname also spelled Miereveld or Miereveldt, was a Dutch painter and draftsman of the Dutch Golden Age.
Schloss Charlottenburg is a Baroque palace in Berlin, located in Charlottenburg, a district of the Charlottenburg-Wilmersdorf borough.
Jan Lievens was a Dutch Golden Age painter who was associated with his close contemporary Rembrandt, a year older, in the early parts of their careers. They shared a birthplace in Leiden, training with Pieter Lastman in Amsterdam, where they shared a studio for about five years until 1631. Like Rembrandt he painted both portraits and history paintings, but unlike him Lievens' career took him away from Amsterdam to London, Antwerp, The Hague and Berlin.
Dutch Golden Age painting is the painting of the Dutch Golden Age, a period in Dutch history roughly spanning the 17th century, during and after the later part of the Eighty Years' War (1568–1648) for Dutch independence.
Maerten de Vos, Maerten de Vos the Elder or Marten de Vos was a Flemish painter. He is known mainly for his history and allegorical paintings and portraits. He was, together with the brothers Ambrosius Francken I and Frans Francken I, one of the leading history painters in the Spanish Netherlands after Frans Floris career slumped in the second half of the sixteenth century as a result of the Iconoclastic fury of the Beeldenstorm.
Anthoni Schoonjans, nicknamed Parhasius was a Flemish painter known for his portraits as well as his history paintings. After training in Antwerp he had an international career, which saw him work in various countries in Europe including France, Italy, Germany, Austria, The Dutch Republic and Denmark. He was a court painter in Vienna, Copenhagen, Berlin and Düsseldorf.
Anthonie Palamedes, also Anthonie or Antonie Palamedesz.,, was a Dutch Golden Age portrait painter.
Charles Emmanuel Biset or Karel Emmanuel Biset was a Flemish painter who had a peripatetic career working in various cities and countries including his hometown Mechelen, Paris, Annonay, Brussels, Antwerp and Breda. He worked in many genres including genre scenes of interiors with merry companies and gallery paintings, history painting, still life and portraiture.
Willem Jacob Herreyns was a Flemish painter of history subjects and portraits. He is regarded as one of the last painters in the tradition of the Flemish Baroque and the last follower of Peter Paul Rubens.
Ambrosius Francken I (1544–1618) was a Flemish painter known for his religious works and historical allegories painted in a late Mannerist style. He was a prominent member of the Francken family of artists, which played a very important role in the Flemish art scene from the late 16th to middle 17th century.
Merry company is the term in art history for a painting, usually from the 17th century, showing a small group of people enjoying themselves, usually seated with drinks, and often music-making. These scenes are a very common type of genre painting of the Dutch Golden Age and Flemish Baroque; it is estimated that nearly two thirds of Dutch genre scenes show people drinking.
Raphael Coxie, was a Flemish Renaissance painter mainly known for his portrait and history paintings.
Josse van der Baren was a Flemish painter of history paintings and a draughtsman active in the Leuven area around the turn of the 17th century.
Gommaert van der Gracht or Gommaer van der Gracht was a Flemish painter and draughtsman mainly known for his still life and landscape paintings.
Portrait of Cunera van Baersdorp is a painting by the Dutch Golden Age painter Frans Hals, painted in 1625 and now in a private collection. It is considered a pendant portrait to the Portrait of a Man Standing, now identified as Cunera's husband Michiel de Wael.
Jan Coxie was a Flemish painter and draughtsman mainly known for his landscape paintings. He was a member of the Coxie family of artists which played an important role in the development of Flemish painting in the 16th and 17th centuries.
Herbermann, Charles, ed. (1913). "Michiel Coxcie". Catholic Encyclopedia . New York: Robert Appleton Company.
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