Massys


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Massys

(Flemish ˈmasaɪs) ,

Matsys

or

Metsys

n
(Biography) Quentin (ˈkventin). 1466–1530, Flemish painter, based in Antwerp; noted for his portraits and scenes of everyday life
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These include the clever juxtaposition of the Roman marble Crouching Venus with Rubens' Peace and War, which eloquently conveys how ancient art was a key source for 17th-century creativity; the reuniting of Orazio Gentileschi's sensual Old Testament canvases that once hung in the Queen's House; and the somewhat surprising enthusiasm the king evidently had for northern Renaissance art, illustrated by the works of Bruegel (Fig.2), Holbein and Massys among others, which acts as a fascinating counterpoint to his more well-known Italianate passions.
1450-1516), Quentin Massys (1466-1530), Jan Willems de Cock (1480-1527?), Niklaus Manuel Deutsch (1484-1520/30)....
1500-1510) del pintor flamenco Quentin Massys (39) o, dentro del ambito hispano-flamenco, en el Salvador de Pedro Berruguete (ca.
Williams discusses paintings by Giotto, Quinten Massys, Joos van Cleve, and Caravaggio; woodcuts by Lucas Cranach the Elder and Albrecht Durer; several illustrations in Books of Hours, statues, and altarpieces.
1) is a copy of a lost work by the Flemish painter Quentin Massys (also called Matsys or Metsys; 1465/6-1530).
245) menciona a El banquero y su esposa de Quentin Massys (c.1466-1530) como ejemplo de simetria en el uso de las figuras para la composicion del cuadro.
(These elves serve on the museum's Members Council when not assisting us with Christmas preparations.) A tour of Christian art also will be offered (pictured is Quentin Massys' "The Rest on the Flight into Egypt").
AI1 they miss out on by foregoing the Italian text, apart from a chance to practice their Italian reading skills, is its bright cover illustration reproduced from a well-known sixteenth-century painting by Quentin Massys of money changers at work.
However, there are examples of pendants of this type attached to the wearer's clothing, as seen in Quinten Massys's portrait of Elizabeth I from 1583 and located in Siena, where a large pendant with an eyelet is affixed to Elizabeth's dress.
(7.) In his volume Quentin Massys (sic), Friedlander notes a "cheerless gravity" that feels "carried over from church and chapel into the young art of genre painting" (7:24).
Some of the artists to look for are Martin Schongauer, Quentin Massys and Hieronymus Bosch.
Although the four paintings of that name differ in content, all juxtapose the image of Elizabeth with mottoes by Petrarch and props such as globes, maps, imperial columns, and the triple crown of the Holy Roman Empire in order to claim for her the position of an empress.(6) Most interesting for our purposes is the Siena Portrait, recently discovered to be by an obscure Dutchman, Quentin Massys the Younger (see Figure 1.)(7) Placing in Elizabeth's left hand a sieve like that with which the Vestal Virgin Tuccia proved her chastity by miraculously carrying water from the river Tiber to the Senate in Rome, Massys portrays the Queen as a pensive woman in black standing between a globe and a pillar.