| Madonna and Child | |
|---|---|
 | |
| Artist | Quentin Matsys |
| Year | circa 1525–1530 |
| Medium | Oil on panel |
| Dimensions | 75.4 cm× 62.9 cm(29.7 in× 24.8 in) |
| Location | Mauritshuis, The Hague |
Madonna and Child Kissing is a 1520s oil on panel painting by the Flemish renaissance artist Quentin Matsys in the collection of the Rijksmuseum, Amsterdam, [1] on loan to the Mauritshuis. [1]
Mary, holding two cherries with her right hand, sits kissing her child who sits next to her on a pedestal inside a richly decorated throne with a view of a castle on a river beyond. Lying on a banister in the foreground are a bunch of grapes (referring to the wine of the Eucharist) and an apple (symbol of the Fall of Man). [1]
There are several known versions of this painting, made popular by a 1628 painting by Willem van Haecht of The Gallery of Cornelis van der Geest . [1] That Madonna of the Cherries painting was the subject of an anecdote published in 1648 by Frans Fickaert (1614–1654) in which he stated that on 23 August 1615, while on a visit, the Archduke attempted to buy it from Van der Geest but was refused. [2] He claimed it was in the possession of Van der Geest who declined an offer to purchase it by Albert of Austria. Recent dendrochronology has shown that the wood of the panel was felled at the latest in 1502. [1] Though this panel could have been ready for use by 1513, a date after 1527 is more likely. [1] Fickaert may have been mistaken in the year, or possibly this panel is not the original and was copied by the artist based on the story, or perhaps even because of its featured status in the Haecht painting and the enthusiasm Van der Geest had for Matsys. Van der Geest celebrated the hundredth anniversary of Matsys' death by having his bones re-interred in the Antwerp Cathedral with the inscription Connubial bliss turned a blacksmith into Apelles. [3]
The painting was in the collection of Albertina Agnes (1634–1696), Princess of Oranje-Nassau, at the Frisian Stadholder's Court, Leeuwarden, and a century later was appropriated for the national collection from Paleis Het Loo to the Rijksmuseum, then in The Hague, on 18 September 1798. The appropriation of art from the stadtholder's collection was a tactical move to prevent the abduction of more national treasure to Paris as had happened with the Gallery Prince William V in 1795. The painting has been in the national collection owned by the Rijksmuseum ever since, and has been on loan to the Mauritshuis since 1948. [1]
Other known versions:
Quentin Matsys (1466–1530) was a Flemish painter in the Early Netherlandish tradition. He was born in Leuven. There is a tradition alleging that 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. He is regarded as the founder of the Antwerp school of painting, which became the leading school of painting in Flanders in the 16th century. He introduced new techniques and motifs as well as moralising subjects without completely breaking with the tradition.
Jan Davidsz. de Heem or in-full Jan Davidszoon de Heem, also called Johannes de Heem or Johannes van Antwerpen or Jan Davidsz de Hem, was a still life painter who was active in Utrecht and Antwerp. He is a major representative of that genre in both Dutch and Flemish Baroque painting.
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.
The Royal Museum of Fine Arts Antwerp is a museum in Antwerp, Belgium, founded in 1810, that houses a collection of paintings, sculptures and drawings from the fourteenth to the twentieth centuries. This collection is representative of the artistic production and the taste of art enthusiasts in Antwerp, Belgium and the Northern and Southern Netherlands since the 15th century.
Joos van Cleve was a leading painter active in Antwerp from his arrival there around 1511 until his death in 1540 or 1541. Within Dutch and Flemish Renaissance painting, he combines the traditional techniques of Early Netherlandish painting with influences of more contemporary Renaissance painting styles.
Leonaert Bramer, also Leendert or Leonard, was a Dutch painter known primarily for genre, religious, and history paintings. Very prolific as a painter and draftsman, he is noted especially for nocturnal scenes which show a penchant for exotic details of costume and setting. He also painted frescos—a rarity north of the Alps—which have not survived, as well as murals on canvas, few of which are extant. Bramer is one of the most intriguing personalities in seventeenth-century Dutch art.
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.
Willem van Haecht was a Flemish painter best known for his pictures of art galleries and collections.
Cornelis van der Geest was a spice merchant from Antwerp, who used his wealth to support the Antwerp artists and to establish his art collection. He was also the dean of the haberdashers guild.
A Mother's Duty (1658–1660) is an oil-on-canvas painting by the Dutch painter Pieter de Hooch. It is part of the collection of the Amsterdam Museum, on loan to the Rijksmuseum.
Landscape with Waterfall is an oil on canvas painting by the Dutch landscape painter Jacob van Ruisdael. It is an example of Dutch Golden Age painting and is now in the collection of the Amsterdam Museum, on loan to the Rijksmuseum.
View of the Dam and Damrak at Amsterdam, also known as The Damrak in Amsterdam, is a 17th-century oil on canvas painting by the Dutch Golden Age painter Jacob van Ruisdael. Since 1866 it is in the collection of the Museum Boymans van Beuningen in Rotterdam.
View of the Dam and Damrak at Amsterdam, also known as Quay at Amsterdam, is a 17th-century oil on canvas painting by the Dutch Golden Age painter Jacob van Ruisdael. It is since 1910 in the Frick Collection in New York. It is currently not on view.
View of the Dam and Damrak at Amsterdam is a 17th-century oil on canvas painting by the Dutch Golden Age painter Jacob van Ruisdael. It is in the collection of the Mauritshuis in the Hague. It gives a bird's eye view of the crowd watching the parade of the civic guard on the Dam Square, the main square of Amsterdam.
The Art Gallery of Jan Gildemeester Jansz is a painting created by the Dutch painter Adriaan de Lelie in 1794–95. It is part of the collection of the Rijksmuseum Amsterdam, executed in oil paint on panel. It depicts the art collector Jan Gildemeester Jansz in the midst of his large collection of paintings, showing them to friends.
The Money Changer and His Wife is a 1514 oil-on-panel painting by the Flemish Renaissance artist Quentin Matsys, currently in the Louvre Abu Dhabi.
Adoration of the Magi is an oil on panel painting from the early 1520s by the Dutch Renaissance artist Jan Mostaert in the collection of the Rijksmuseum, Amsterdam, where in 2020 it was on display in room 0.1. The panel measures 51 cm × 36.5 cm, and the painted surface a little less at 48.5 cm × 34 cm. It is often called the Mostaert Amsterdam Adoration in art history, to distinguish it from the multitude of other paintings of the Adoration of the Magi.
The Joiners' Guild Altarpiece is a altarpiece by Quentin Matsys, executed c. 1511, produced for the eponymous guild in the aftermath of its split from the Coopers' Guild in 1497. It is now in the Royal Museum of Fine Arts, Antwerp. It is sometimes also known as the Passion Altarpiece or the Martyrdom Altarpiece after the scenes of martyrdoms of John the Baptist and John the Evangelist on the side panels. Both these saints were patrons of carpenters and also appear in grisaille on the outside of the side panels. The central panel shows the Lamentation over the Dead Christ.
Portrait of Michiel de Ruyter is a 1667 oil on canvas painting of Michiel de Ruyter by Ferdinand Bol, with a marine landscape in the background thought to be by Willem van de Velde (II) including de Ruyter's flagship De Zeven Provinciën.
The Standard Bearer is a three-quarter-length self-portrait by Rembrandt formerly in the Paris collection of Elie de Rothschild, and purchased by the Rijksmuseum for 175 million euros with assistance from the Dutch state and Vereniging Rembrandt in 2021. It was painted on the occasion of the artist's move from Leiden to Amsterdam and is seen as an important early work that "shows Rembrandt's ambition to paint a group portrait for the Amsterdam militia, at the time the most valued commission a painter could be awarded."
