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MIERIS, Frans van, the Elder Teasing the Pet oil painting


Teasing the Pet
Painting ID::  19430 		Artist: MIERIS, Frans van, the Elder
Painting: Teasing the Pet
Introduction: 1660 Oil on panel Mauritshuis, The Hague.
   
   
     

 

 

 
 

 

 

 
MIERIS, Frans van, the Elder Old Soldier Smoking a Pipe oil painting


Old Soldier Smoking a Pipe
Painting ID::  19431 		Artist: MIERIS, Frans van, the Elder
Painting: Old Soldier Smoking a Pipe
Introduction: Oil on panel Allentown Art Museum.
   
   
     

 

 

 
 

 

 

 
MIERIS, Frans van, the Elder Carousing Couple oil painting


Carousing Couple
Painting ID::  19432 		Artist: MIERIS, Frans van, the Elder
Painting: Carousing Couple
Introduction: Undated Oil on panel Private collection.
   
   
     

 

 

 
 

 

 

 
MIERIS, Frans van, the Elder The Artist as Virtuoso at his Easel oil painting


The Artist as Virtuoso at his Easel
Painting ID::  19433 		Artist: MIERIS, Frans van, the Elder
Painting: The Artist as Virtuoso at his Easel
Introduction: 1667 Oil on panel Polesden Lacey, Surrey
   
   
     

 

 

 
 

 

 

 
MIERIS, Frans van, the Elder The Lacemaker oil painting


The Lacemaker
Painting ID::  29632 		Artist: MIERIS, Frans van, the Elder
Painting: The Lacemaker
Introduction: Oil on wood
   
   
     

 

 

 
 

 

 

 
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     Check All MIERIS, Frans van, the Elder's Paintings Here!
     Dutch painter (b. 1635, Leiden, d. 1681, Leiden). was a Dutch genre and portrait painter. The leading member of a Leiden family of painters, his sons Jan (1660-1690) and Willem (1662?C1747) and his grandson Frans van Mieris the Younger (1689?C1763) were also accomplished genre painters. Frans was the son of Jan Bastiaans van Mieris, a goldsmith, carver of rubies and diamond setter at Leiden. His father wished to train him to his own business, but Frans preferred drawing, and took service with Abraham Toorenvliet, a glazier who kept a school of design. In his father's shop he became familiar with the ways and dress of people of distinction. His eye was fascinated in turn by the sheen of jewelry and stained glass; and, though he soon gave up the teaching of Toorenvliet for that of Gerard Dou and Abraham van den Tempel, he acquired a manner which had more of the finish of the exquisites of the Dutch school than of the breadth of the disciples of Rembrandt. It should be borne in mind that he seldom chose panels of which the size exceeded 12 to 15 inches, and whenever his name is attached to a picture above that size we may surely assign it to his son Willem or to some other imitator. Unlike Dou when he first left Rembrandt, or Jan Steen when he started on an independent career, Mieris never ventured to design figures as large as life. Characteristic of his art in its minute proportions is a shiny brightness and metallic polish. The subjects which he treated best are those in which he illustrated the habits or actions of the wealthier classes; but he sometimes succeeded in homely incidents and in portrait, and not unfrequently he ventured on allegory. He repeatedly painted the satin skirt which Ter Borch brought into fashion, and he often rivalled Ter Borch in the faithful rendering of rich and highly-coloured woven tissues. But he remained below Ter Borch and Metsu, because he had not their delicate perception of harmony or their charming mellowness of touch and tint, and he fell behind Gerard Dou, because he was hard and had not his feeling for effect by concentrated light and shade. In the form of his composition, which sometimes represents the framework of a window enlivened with greenery, and adorned with bas-reliefs within which figures are seen to the waist, his model is certainly Dou. It is a question whether Houbraken has truly recorded this master's birthday. One of his best-known pieces, a party of ladies and gentlemen at an oyster luncheon, in the Hermitage at St Petersburg, bears the date of 1650. Celebrated alike for composition and finish, it would prove that Mieris had reached his prime at the age of fifteen. Another beautiful example, the "Doctor Feeling a Lady's Pulse" in the gallery of Vienna, is dated 1656; and Waagen, in one of his critical essays, justly observes that it is a remarkable production for a youth of twenty-one. In 1657 Mieris was married at Leiden in the presence of Jan Potheuck, a painter, and this is the earliest written record of his existence on which we can implicitly rely. Of the numerous panels by Mieris, twenty-nine at least are dated--the latest being an allegory, long in the Ruhl collection at Cologne, illustrating what he considered the kindred vices of drinking, smoking and dicing, in the year 1680. Mieris had numerous and distinguished patrons. He received valuable commissions from Archduke Leopold, the elector-palatine, and Cosimo III de' Medici, grand-duke of Tuscany. His practice was large and lucrative, but never engendered in him either carelessness or neglect. If there be a difference between the painter's earlier and later work, it is that the former was clearer and more delicate in flesh, whilst the latter was often darker and more livid in the shadows. When he died his clients naturally went over to his son Willem, who in turn bequeathed his painting-room to his son Frans. But neither Willem nor Frans the younger equalled Frans the elder. . Related Artists to MIERIS, Frans van, the Elder : | Herman van der Mijn | Maurice Denis | Pedro Americo | Pierre Mignard | HERREYNS, Willem |

 

 

 
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