LITMIR.BIZ

      This painter was a native of Amsterdam, and lived and worked there. His pictures are now much appreciated; but he died destitute, and the pictures he left behind him were valued at only three florins apiece.

      Maes (or, in more modern form, Maas), was a pupil of Rembrandt, and ranks high among Dutch masters, being distinguished from many of the genre painters by his richer colouring. "He assimilated the principles of his master," says Sir. F. Burton, "without adopting his subjects. In the class of pictures by which he is best known, namely, indoor scenes taken from ordinary life, he unites subtlety of chiaroscuro, vigorous colour, and great mastery in handling, with that true finish which never becomes trivial. The figures are finely drawn, and their action is perfect. Harmonies of red and black prevail in these works – sometimes pervading the picture in subdued tones; sometimes brought out in full contrasting force against white. The smaller pictures by Maes in this Gallery are among the finest examples of the former mode of treatment." Maes entered Rembrandt's studio in 1650 and remained there four years. He then returned to Dort, his native town, where he lived till 1678. In that year he moved to Amsterdam, where he remained to the end of his life, and was employed by most of the distinguished persons of his time. In these latter years he was mostly engaged in portraits. His earlier portraits (of which No. 1277 is a good specimen) are worthy of a pupil of Rembrandt. The later portraits are so different in style and inferior in quality that some critics ascribe them to the painter's son or some other artist of the same name. "Maes's favourite colour," says Havard, "was red. No artist uses this colour with more boldness or more success than he does in his earlier works [note, e. g. the crimson curtain which forms the background in 1277]. For this reason doubts have been raised if he ever painted the series of large bewigged portraits which have been attributed to him, sombre and morose faces, uniformly set against a dark background. It is difficult to imagine the brilliant painter of 'The Cradle' forgetting his skill in light and shade and his love of nature, to give himself up, as in these commonplace productions, to mannerism and affectation" (The Dutch School, p. 100).

      Teniers, though a Fleming by birth, belongs rather to the Dutch School in style – being one of the principal genre painters, of whom most of the other leading masters are Dutch. His art stands, however, in direct relation to that of the Flemish painters preceding him, through the want of spiritual motive common to him and to them. But Teniers and the genre painters carry this banishment of spiritual motive a step further. "Rubens often gives instructive and magnificent allegory. Rembrandt, pathetic or powerful fancies, founded on real Scripture-reading, and on his interest in the picturesque character of the Jew. And Van Dyck, a graceful rendering of received Scriptural legends. But (with Teniers) … we lose, not only all faith in religion, but all remembrance of it. Absolutely now at last we find ourselves without sight of God in all the world… Farthest savages had, and still have, their Great Spirit, or, in extremity, their feather-idols, large-eyed; but here in Holland we have at last got utterly done with it all. Our only idol glitters dimly, in tangible shape of a pint pot, and all the incense offered thereto comes out of a small censer or bowl at the end of a pipe." The place of Teniers in art history is, therefore, so far as the ideals of art go, that he is, par excellence, "the painter of the pleasures of the ale-house and card-table" (Modern Painters, vol. v. pt. ix. ch. vi. §§ 10, 11; ch. viii. § 11). He did, indeed, occasionally venture on the ground of religious painting; but his essays in this sort are absurd. His devotion to genre entirely hit the taste of his time, and his fame was rapid and enduring. He was taught the rudiments of art by his father, David Teniers, the elder, a mediocre painter of small rustic subjects (see 949); but his real masters were Rubens and Brouwer, though he did not actually study with them. In 1633, at the age of twenty-three, he received the dignity of master. Four years later he married the daughter of Velvet Breughel, the former ward of Rubens, who acted as witness at the marriage ceremony. His talents were in universal request. The Archduke Leopold-William, Governor of the Spanish Netherlands, appointed him his private painter, and gave him an office in his household. Queen Christina of Sweden and King Philip IV. of Spain were amongst his patrons. He gave Don Juan of Austria lessons in painting, and this prince painted the portrait of Teniers's son, and presented it to the master as a token of his regard. In 1644 he was chosen to preside over the Antwerp Guild of Painters. In 1647 he took up his abode in Brussels. His country-seat at Perck (see 817) was a constant resort of the Spanish and Flemish nobility. Shortly after the death of his first wife in 1656 he married Isabella de Fren, daughter of the Secretary of the Council of Brabant, and he strove his utmost to prove his right to armorial bearings. The king declared his readiness to grant the request, but only on condition that Teniers should give up selling his pictures. Teniers did not accept the condition, and transferred his energies to procuring a charter for an Academy of Fine Arts in Antwerp to which artists should alone be admitted, whereas the former Guild of St. Luke made no distinction between art and handicraft.

      The aristocratic leanings of Teniers may be detected in his pictures. He is indeed, as we have seen, "the painter of the ale-house." "He depicted the manners of the Flemish rustic, told of the intimacy of his domestic life and his happy, coarse laughter. His folk go to market, clean out the stable, milk the cows, raise the nets, sharpen knives, shoot off arrows, play at nine-pins or cards, bind up wounds, pull out teeth, cure bacon, make sausages, smoke, sing, dance, caress the girls, and, above all things, drink, like the live Flemings they are." Yet as compared with some other masters of genre, Teniers seems to treat his rustics somewhat from the outside. Their expressions are often exaggerated, and their gestures pass into grimace. "Brouwer knew more of taverns; Ostade was more thoroughly at home in cottages… Teniers seems anxious to have it known that, far from indulging in the coarse amusements of the boors he is fond of painting, he himself lives in good style and looks like a gentleman. He never seems tired of showing the turrets of his château of Perck, and in the midst of rustic merry-makings we often see his family and himself received cap in hand by the joyous peasants" (e. g. in 817). So too, though many of his interiors are very good, Teniers is on the whole at his best in open-air scenes. In his skies he has given (says Ruskin) "some very wonderful passages" (Modern Painters, vol. i. pt. ii. sec. iii. ch. i. § 20; H. Hymans in Encyclopædia Britannica; Wauters's Flemish School, p. 294). Good examples of Teniers continue to be greatly appreciated. The Belgian Government, for instance, gave £5000 in 1867 for the "Village Pastoral," now in Brussels Museum. The taste of Teniers may justly be condemned; his technique will always be admired. "Take," says Ruskin, "a picture by Teniers, of sots quarrelling over their dice; it is an entirely clever picture – so clever that nothing in its kind has ever been done equal to it; but it is also an entirely base and evil picture. It is an expression of delight in the prolonged contemplation of a vile thing, and delight in that is an 'unmannered' or 'immoral' quality" (Crown of Wild Olive, § 56). His bright palette, his freshness of handling, his straightforwardness in means and intent, give to the best works of Teniers a permanent interest. He "touched with a workmanly hand, such as we cannot see rivalled now"; and

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