This is David Teniers

By Gwylym Owen

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David Teniers the Elder (1582 – 29 July 1649), Flemish painter, was born at Antwerp.

Having standard his first training in the painter’s art from his brother Juliaen, he studied below Rubens in Antwerp, and subsequently below Elsheimer in Rome; he became a believer of the Antwerp guild of painters in 1606.

As he got older he attempted to try his talent in large religious, historical and mythological compositions, his claim to fame depends chiefly upon his landscapes and paintings of peasants carousing, of kermesse scenes and the like, which are marked by a healthy sense of humour, and which are not infrequently shown in the future works of his son David.

There is a large painting by the elder Teniers at St Paul’s church in Antwerp, representing the Works of Charity. At the Vienna Gallery are four landscapes painted by Teniers under the auspices of Elsheimer, and four little mythological subjects, among them Vertumnus and Pomona, and Juno, Jupiter and Io. The National Gallery has a characteristic scene of village life, Playing at Bowls, a Conversation of three men and a woman, and a large Rocky Landscape. Other examples of his put it on are to be found at the galleries of St Petersburg, Madrid, Brussels, Munich, Dresden and Berlin (The Temptation of St Anthony).

Teniers afterward achieved expertise as a portrait dealer, and is known to have attended the fair of St Germain in Paris in 1635, with a large number of paintings by himself and by his four sons. He died at Antwerp in 1649.

His father, David the Elder (1582-1649), painted mainly religious scenes. The son of David the Younger, David III (1638–1685), was one of the many artists who imitated his father’s work. Teniers’ son, also called David (1638-1685), often imitated his father’s work.

Two other strong artistic influences on the life of Teniers the Younger were Rubens and Elsheimer, both of whom also influenced his father. Teniers the Younger was a very prolific artist throughout his life and created over 1000 pieces of art. Teniers made a second career in 1651 when he moved to Brussels, becoming court painter and curator of the art collections of the Regent of the Netherlands, Archduke Leopold Wilhelm. Born in Antwerp in 1610, he studied with his father, David Teniers the Elder (1582-1649), an art dealer and painter-historian.

David Teniers Jr. was one of the most prominent genre painters of the South of the Netherlands in the 17th century. He was an innovator of a wide range of genres including history painting, genre painting, landscape painting, portraiture and still life. As a young master, he painted portraits of historical figures, religious scenes, scenes of everyday life, landscapes, pastoral works, portraits of members of the infantry guilds, and works of mythology and allegory. Although he is best known for his depictions of peasant life, his paintings range from alchemists and witches to allegorical and biblical themes.

The Archduke commissioned Teniers to create a book of prints depicting selected Italian paintings from the 15th to 17th centuries from his collection. Teniers (and possibly several of his assistants) made copies of some two hundred paintings that served as models for the engravers, a task he only completed in 1656, a few months after the Archduke left Brussels. In 1676, Teniers collaborated with his nephew or cousin Gvalterus Gisarts, a still life painter, on a series of 19 wreaths depicting the martyrs of Gorkum.

His most important painting of this period is the depiction in the Gallery of the Archduke Leopold William, in which Teniers often depicts himself next to the Archduke. The Archduke became an ardent patron, and in 1651 appointed Teniers as court painter and curator of his painting collection. In the early 1650s, Teniers succeeded Jan van den Hoek (1611-1651) as the official court painter.

Teniers wrote many chronicles of the daily life of the Flemings in his early years. For a couple of centuries, his name would have been synonymous with the late Flemish painting of everyday life. His work was heavily influenced by the scenes in Adrian Brouwer’s tavern and the smooth manipulation of the painting by Peter Paul Rubens.

He continued to paint until at least 1680 and died in Brussels on April 25, 1690. Flemish painter, most important member of the Antwerp family of painters.

David Teniers the Younger (baptized December 15, 1610, Antwerp, died April 25, 1690, Brussels), a prolific Flemish painter of the Baroque era, known for his genre scenes from peasant life. David Teniers the Younger or David Teniers II (December 15, 1610 – April 25, 1690) was a Flemish painter, printmaker, draftsman, miniaturist, staff painter, copyist, and art curator. Early in his career, he collaborated with his father on a series of twelve panels illustrating Torquato Tasso as the great epic, Gerusalemme Liberata (Madrid, Prado National Museum). He apparently carefully studied the solemn antics of the domestic monkey in the family photograph, and in the last years of his life took a series of images in which the monkeys played the roles played by the men in the opening scenes with the pots.

The first Flemish biographer, Cornelis de Bie, reported in his 1662 study Het Gulden that Don Juan was an amateur painter who often sought artistic direction from the Teniers. In 1632-33 Teniers became Master of the Guild of Saint Luke in Antwerp. Teniers apparently served the Archduke at the court in Brussels in December 1647, although he lived in Antwerp until at least November 1649. He was a Flemish priest and a gifted still life painter Jan Anton van der Balen, who moved with Leopold Wilhelm from Brussels to Vienna, where he succeeded Teniers as Director of the Archduke Gallery in Vienna.

In order to be close to his patron, he would move from Antwerp to Brussels in 1651, devoting himself to the luxuries of life, to the harsh criticism of his fellow painters. Teniers also maintained good relations with many patrons and art collectors, who commissioned him to create a number of works, a considerable number of which were sent to Spain.

A more credible reference to the travels of young artists of that year is a contract he signed with the art dealer Chrysostom van Immersiel on December 29, 1635 in Dover, England. The artist probably also went to England, since on December 29, 1635 of the same year, he signed a contract in Dover with the Antwerp art dealer Chrysostomos van Immersel, then residing in England.

Rubens fulfilled this important assignment with the assistance of a large number of Antwerp artists such as Jacob Jordaens, Cornelis de Vos, Jan Kosiers, Peter Snayers, Thomas Willeboots Bosschaert, Theodor van Tulden, Jan Beckhorst, Peter Simons, Jacob Peter Gowey and others. who worked on the models of Rubens. Teniers had to start his artistic career as an adviser to the regents, he even had to paint the gallery of the regents.

Teniers created more complex versions of the Browers peasant scene and later fashion scenes from life. Along with Rubens, Teniers was one of the first 17th century Flemish painters to include rainbows in their work, not because of their religious or allegorical significance, but as a demonstration of their careful attention to nature. Another way of research. Teniers created several paintings that are part of this prestigious collection. Although Teniers’ early works also reveal his knowledge of Rotterdam-based Dutch artists such as Pieter de Blot and the Saftleven brothers, none of these artists were still life painters.

However, many of his interiors include intricate still lifes, some of which were painted by specialized still life painters and others by Teniers himself. Technically, some of these images, such as Monkey’s Kitchen, Leningrad, are some of his best, regardless of monkeys, but simply as beautifully designed and illuminated interiors. Kitchen Paintings In 1640, Teniers’ Dutch realism began to present a series of kitchen images.

Often these were outdoor scenes depicting a typical Flemish kermesse or party. He decided to write many works depicting outdoor activities such as harvesting by farmers and caring for their livestock. Rural scenes of farms and interiors were already part of his repertoire, but now he began to paint kermesse, folk festivities, raised his palette and created more joyful and richly landscaped works.

From 900 to 2000 works attributed to David the Younger, his only possible biography is that he was some kind of itinerant art lover who traveled the earth with his brushes and canvas wrapped in a backpack .. or that he was one of the most famous and renowned artists of his time. One of the most important results of their treaty is a series of paintings created by David the Younger, showcasing the Archduke’s collection.

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