Joos de Momper
(1564 - 1635) |
|
Landscape, Hunting Scenes, Art Work
| Name: |
Joos de Momper |
| Gender: |
Male |
| Place of Birth: |
Antwerp |
| Nationality: |
Flemish |
| Birth: |
1564 |
| Death: |
1635 |
| Website: |
|
| Past Auctions: |
Click Here |
|
|
Quick Facts
| Known For: |
Landscape, Hunting Scenes, |
| Medium: |
|
| Method: |
|
| Style: |
|
| Fine Art Profession(s): |
Painting
|
|
|
Biography
| The son and probable pupil of Bartholomeus de Momper, Joos was the most highly regarded member of a painters' family that included Frans de Momper (1603-60) and Joos's sons Philips (before 1608-34) and Gaspard (dates unknown). Joos was the leading practitioner of the landscape tradition established by Pieter Brueghel the Elder, which featured mountainous or rural landscape views. Listed as a master in the Antwerp Guild in 1581 (the year in which his father was dean), Joos may have gone to Italy shortly thereafter and studied with Lodewijk Toeput at Treviso. By 1590 Joos was back in Antwerp, having married Elizabeth Gobijn that year. They had two sons who became painters. In 1594 Joos was one of the artists producing the decorations for the triumphal entry of the governor of the Netherlands, Archduke Ernest, into Antwerp. In 1610 Joos rose to become dean of the Antwerp St. Luke's Guild. He counted Archduke Ernest, Archduke Albert, and Archduchess Isabella among his patrons. Documents in 1626 record his successful claim to the same privileges and tax exemptions which Jan Brueghel the Elder had obtained by working for the Brussels court. Joos made his will in 1634 and died the following year. A limited number of surviving works are dated and even fewer are signed, making a chronology or development for Joos's career difficult. Recent scholarship suggests a development from more precisely rendered works at the beginning of his career to more atmospheric and loosely painted examples at the end. A second problem involves a group of Italian subjects (including a scene of Rome) which Joos may have done at the end of his career, suggesting to some scholars a second trip to Rome. It is possible that Italianate works arriving in the north might also have influenced him. Regardless of the answer, his Italianate works reflect the influence of Paul Bril, who died in Rome in 1626. In some of Joos's last works, such as his views of plains, he anticipates the landscapes of Rubens. Besides the staffage which Joos himself painted, he occasionally employed the services of such artists as Sebastian Vrancx, Jan Brueghel the Elder, and David Teniers the Elder. Van Dyck included Joos's portrait in the Iconography. |
Samples of Work
|
|
