All MASSYS, Quentin 's Paintings

The Painting Names Are Sorted From A to Z
Usually people can find a painting's picture with different colors. We just upload all of them here.
They are just the options for you and you can choose the best one or the one with your favorite colors.

Choice	ID	Image	Painting (From A to Z)	Details
	51047		Christ on the Cross with Donors	c. 1520 Oil on wood, 156 x 92,7 cm
	8104		Christ on the Cross with Donors (detail) sg	c. 1520 Oil on wood Museum Mayer van den Bergh, Antwerp
	43551		Ecce Homo	c. 1515 Oil on panel 160 x 120 cm
	8105		Ecce Homo dhy	c. 1515 Oil on panel, 160 x 120 cm Museo del Prado, Madrid
	8106		Entombment dh	c. 1525 Wood Stedelijke Musea, Leuven
	32400		John the Baptist and St Agnes	c. 1520 Oil on oak, 48 x 13,3 cm
	33534		Portrait of a Canon	mk86 c.1510-1520 Oil on wood 60x73cm Vaduz
	8111		Portrait of a Canon atuy	1510s Oil on wood, 60 x 73 cm Collection of the Prince of Lichtenstein, Vaduz
	8110		Portrait of an Old Man sg	c. 1517 Oil on wood, 48 x 37 cm Mus??e Jacquemart-Andr??, Paris
	8113		Portrait of Erasmus of Rotterdam sg	1517 Oil on panel, transferred to canvas, 59 x 46,5 cm Galleria Nazionale d'Arte Antica, Rome
	64220		St Anne Altarpiece	1507-08 Oil on wood, 220 x 92 cm (each wing) Musees Royaux des Beaux-Arts, Brussels The backs of the wings, when the triptych is closed, juxtapose two scenes. The first takes place beneath the portico of a church, the double arch of which gives onto a square, at the far end of which can be seen the tower of Antwerp cathedral. Under the portico, the High Priest of Jerusalem is receiving an ebony casket from St Anne, who lowers her eyes. Behind her, Joachim holds a parchment which contains the act of donation to the temple and its ministers. In the distance are two figures seen from behind: these too are Anne and Joachim, distributing money to the poor. In the second scene, Joachim's face and attitude express his distress and confusion: the High Priest has refused the coins Joachim has just placed on the offering table, and is gesturing to him brusquely to leave. Massys may sometimes tend towards mawkishness in his treatment of these themes, but St Anne was a particularly popular legend in Flanders and Holland, and this painting brought him immediate and considerable success. , Artist: MASSYS, Quentin , St Anne Altarpiece (closed) , 1451-1500 , Flemish , painting , religious
	64560		St Anne Altarpiece	1507-08 Oil on wood Mus?es Royaux des Beaux-Arts, Brussels The right wing shows St Anne on her death bed, covered with a red sheet, her face pale, her mouth half open, as if she had just breathed her last. Mary Salome, who has collapsed with grief, wipes the tears from her cheeks. Artist:MASSYS, Quentin Title: St Anne Altarpiece (right wing, detail), 1451-1500, Flemish , painting , religious
	8095		St Anne Altarpiece (central panel) g	1507-08 Oil on wood, 224,5 x 219 cm Mus??es Royaux des Beaux-Arts, Brussels
	8096		St Anne Altarpiece (detail) rfg	1507-08 Oil on wood Mus??es Royaux des Beaux-Arts, Brussels
	8097		St Anne Altarpiece (right wing, detail) eh	1507-08 Oil on wood Mus??es Royaux des Beaux-Arts, Brussels
	8094		St Anne Altarpiece sg	1507-08 Oil on wood, 224,5 x 219 cm (centre), 220 x 92 cm (each wing) Mus??es Royaux des Beaux-Arts, Brussels
	8112		St Christopher sh	Oil on wood Koninklijk Museum voor Schone Kunsten, Antwerp
	32405		St John Altarpiece	1507-08 Oil on wood, 260 x 504 cm
	64221		St John Altarpiece	1507-08 Oil on wood Koninklijk Museum voor Schone Kunsten, Antwerp The monumental triptych welds together 15th century tradition and the new ideas about art which were emerging from Italy. The light effects, the gradation of colour and the interweaving of the composition hark back to the attention to detail, the use of landscape as a backdrop and the rather stereotypical figures of the previous century. , Artist: MASSYS, Quentin , St John Altarpiece (detail) , 1451-1500 , Flemish , painting , religious
	8099		St John Altarpiece (central panel) g	1507-08 Oil on wood Koninklijk Museum voor Schone Kunsten, Antwerp
	8102		St John Altarpiece (detail) g	1507-08 Oil on wood Koninklijk Museum voor Schone Kunsten, Antwerp
	8100		St John Altarpiece (left wing) sg	1507-08 Oil on wood Koninklijk Museum voor Schone Kunsten, Antwerp
	8101		St John Altarpiece (right wing) dh	1507-08 Oil on wood Koninklijk Museum voor Schone Kunsten, Antwerp
	8098		St John Altarpiece dfh	1507-08 Oil on wood, 260 x 504 cm Koninklijk Museum voor Schone Kunsten, Antwerp
	63974		St Mary Magdalene	45 x 29 cm Koninklijk Museum voor Schone Kunsten, Antwerp Quentin Massys was the first major artist of the rising Antwerp school in the 16th century. In his refined Saint Mary Magdalene, the artist conveys his ideal of feminine beauty in masterly fashion. , Artist: MASSYS, Quentin , St Mary Magdalene , 1451-1500 , Flemish , painting , religious
	32395		The Adoration of the Magi	1526 Tempera and oil on wood
	8103		The Adoration of the Magi dh	1526 Tempera and oil on wood Metropolitan Museum of Art, New York
	33533		The Money-changer and his Wife	mk86 1514 Oil on wood 70x67cm Paris,Musee National du Louvre
	8108		The Moneylender and his Wife (detail) sdg	1514 Oil on panel Mus??e du Louvre, Paris
	8109		The Moneylender and his Wife (detail) sg	1514 Oil on panel Mus??e du Louvre, Paris
	8107		The Moneylender and his Wife sg	1514 Oil on panel, 71 x 68 cm Mus??e du Louvre, Paris
	8114		The Virgin Enthroned sg	c. 1525 Oil on wood, 135 x 90 cm Staatliche Museen, Berlin
	63979		Virgin and Child	The Hague , Artist: MASSYS, Quentin , Virgin and Child , 1451-1500 , Flemish , painting , religious
	63980		Virgin and Child	130 x 86 cm Musees Royaux des Beaux-Arts, Brussels The Virgin is seated in three-quarter profile on an imposing stone throne with Gothic ornamentation. Richly dressed in a dark red, fur-lined gown and a mantle bordered with pearl braiding, her head inclined in recollection, she holds the infant Jesus on her right arm. She appears to be meditating a passage in the book that Christ is thumbing. Their faces are surrounded by halos of golden rays. The Child, in a long white shirt, has seized the bookmark. Through an open window to the right of the throne we glimpse a building on the other side of a courtyard. The upper part of the window is decorated with a stained glass panel depicting St Catherine flanked by two escutcheons. A similar stained glass window to the left carries the figure of St Barbara. This painting, attributed to Quentin Massys, is part of the Madonna with Child group that the artist painted during his youth. The symmetrical composition, the hieratic presentation of the figures, the style of the Virgin's garments and the vigorous modelling of the draperies as well as the Gothic ornamentations all recall the tradition of the Flemish Primitives. The iconographic theme picks up the traditional image of Christ's incarnation. The Virgin in majesty is directly associated with the divine nature of her Son, the Word incarnate. Her meditative attitude and the red of her garments evoke the presentiment she had of her Child's destiny right from his birth. Massys' work refers back to earlier compositions that present Christ reading in the Virgin's arms. Two famous examples are Rogier van der Weyden's Madonna Duren (Madrid, Prado) and the Ince Hall Virgin attributed to a follower of Jan van Eyck (Melbourne, National Gallery of Victoria). With Massys we have the same monumental pose of the Virgin, with the niche-shaped throne similar to the one in Van der Weyden's painting. Even if the Brussels Madonna with Child shows how much the painter was part of the Flemish tradition, before coming under the influence of the Renaissance, it already contains the novel elements that were to make Massys the captivating and highly innovative artist whose talent would be fully revealed in his later works. With his exceptionally ample volumes, his supple shapes caressed by a strong, yet soft light, and the virtuoso translucency of his colouring technique, he carries the art of modelling forward to new heights. , Artist: MASSYS, Quentin , Virgin and Child , 1451-1500 , Flemish , painting , religious
	63978		Virgin with the Child	22,5 cm Rockox House, Antwerp Around 1500, when the port of Antwerp began to emerge as the capital of north European trade, it also became a cultural melting pot. All manner of artists flocked into the town on the Scheldt. One of these was Quentin Massys from Louvain, who registered as a painter in the St. Lucas Guild in 1491, and is regarded as the founder of the Antwerp School which was soon to topple the hegemony of the School of Bruges. He remained faithful to the Flemish tradition, although the sfumato in the background of some of his landscapes shows that he was familiar with the work of Leonardo da Vinci. He is usually regarded as a painter of monumental works, and rightly so, but he also painted smaller scale scenes with figures. This is hardly surprising, since his technique had its sources in miniature paintings. The Holy Virgin with the Child Jesus, a small tondo, bears witness to the attention the master paid to sensitive, finely detailed drawing to express the tender movement of the form, and the subtle use of colour to convey the essence of a variety of textures. , Artist: MASSYS, Quentin , Virgin with the Child , 1451-1500 , Flemish Form

CONTACT US