This biography of important seventeenth century Flemish painter David Teniers
, examines the life of this successful and influential artist both during his time in favor at the Brussels court and afterward as an independent artist in Antwerp.
In 1660 the Flemish artist David Teniers
published the Theatrum Pictorium.
Yet, as one stepped into the labyrinth, one discovered, tucked in the various corners and miniature culs-de-sac, sculptural tableaux depicting various moments of aesthetic appreciation--a Becky doll (Barbie's wheelchair-bound friend) looking at a photograph taken on the set of The Mummy Returns, a Chinese scholar studying a hi deously faux scholar's rock, a plaster bust of Marilyn Monroe sitting in a cardboard box, and a can of La Morena salsa sporting a "saucy" Latina on its label who appears to be looking at a reproduction of a painting depicting an art collection, David Teniers
's The Archduke Leopold's Gallery, 1651.
The latter include portraits and depictions of religious and mythological scenes such as "Hagar in the Desert" and "Venus, Mars, and Cupid." Naturalistic views by David Teniers
the Younger, including "A Sow and Her Litter," seascapes by Willem van de Velde the Younger, and luminous landscapes by Dutch masters Jacob van Ruisdael and Aelbert Cuyp are among the highlights.
The prize piece in the Fisher Collection, "The Alchemist," is a 1648 painting by David Teniers
PHOTO : David Teniers
, the Younger's The Alchemist, painted on a wood panel and signed and dated
Archduke Leopold Wilhelm (1614-62), regent of the Netherlands in the mid 17th century, brought together some 1,400 paintings; almost all of the 51 works that were pictured by David Teniers
the Younger in c.
There are three classes in David Teniers
's Kermis in an Innyard: people of fashion who have come to stare at boorish antics; farmers who stand at the porch to discuss their crops, and are still too close to the soil to forego the country fair; and the peasants, who enjoy themselves.
The large painting catalogued as A Kitchen Scene and attributed to David Teniers
is strangely diffuse and lacking in structure for that master of tight, well-ordered composition.
Slowly acquiring a more comical, but still debased, role, the image of the monkey in Christian symbolism changed profoundly during the 17th century in the hands of Flemish artists, including Pieter Brueghel the Younger and David Teniers
the Younger, who broke with traditional Catholic iconography and integrated the animal into genre works.
Until the time of Brouwer's death David Teniers
(unnecessarily known as the Younger, since most of the few works ascribed to his father have now been convincingly re-attributed to the son) imitated Brouwer's manner, although with some distaste for his drunken abandon.