Flanders in the 17th century was a prosperous region. The bourgeoisie and nobility of the then Spanish Netherlands were enthusiastic about masterful works of art. Frans Snyders, born in Antwerp in 1579, was one of the most sought-after masters of his guild. Throughout his life, he remained close to his home town and was on a par with another genius of his time: Peter Paul Rubens.
Frans Snyders gained an excellent reputation as a painter of animal, hunting and market scenes, but also of opulently conceived still lifes. His father ran a wine tavern, which was mainly frequented by artists, including perhaps Pieter Brueghel der Jüngere from the famous Brueghel family. In any case, Snyders became a student of Brueghel and learned the basics of painting in his workshop. On a journey through Italy, he became interested in portraiture and became acquainted with Titian's masterpieces. Back in his home town, however, Snyders turned mainly to still life and animal painting. Shortly after his marriage to Margaretha de Vos, his fruitful collaboration with Peter Paul Rubens began in 1610. He assisted him in the decoration of the Royal Hunting Pavilion Torre della Parada near Madrid. Snyders painted after Rubens' designs, but then freed himself from the great master and became a commercially very successful artist himself. Frans Snyders resided in the fashionable Keizerstraat in Antwerp and became the head of the St. Luke's painters' guild.
The early still lifes show his endeavours to capture flowers, fruit, vegetables, bread and goblets in their materiality in a deceptively real way on canvas. Soon, hunted rabbits and other animals also populated his hunting still lifes. Consequently, however, he was then interested above all in animals in a living state, driven by hunters. Extremely dramatically and dynamically he described for example a wild boar hunt with dogs or a bear hunt. The animals had no chance, Snyders usually depicted the dramatic climax of a hunting scene: the moment when the animal in a hopeless situation rears up again while the dogs bite into it. More calm and measured are the appetisingly draped market stalls, which Snyders also painted with great meticulousness. Dead feathered animals with hanging heads meet with freshly caught fish and a cat tries to steal something. Market women in contemporary dresses with lace collars have a lively chat with their customers. The baroque era of the Spanish Netherlands resurfaces before our eyes. Frans Snyders was such a great celebrity back then that, like Rubens, he did not feel it necessary to sign his paintings. That is why it is so difficult to attribute his works today, as he had a large number of students and assistants. But there have also been imitators, because his style was lucrative. Frans Snyders died in Antwerp in 1657, he was portrayed during the lifetime of Anthony van Dyck: a proud, successful representative of his painters' guild.
Flanders in the 17th century was a prosperous region. The bourgeoisie and nobility of the then Spanish Netherlands were enthusiastic about masterful works of art. Frans Snyders, born in Antwerp in 1579, was one of the most sought-after masters of his guild. Throughout his life, he remained close to his home town and was on a par with another genius of his time: Peter Paul Rubens.
Frans Snyders gained an excellent reputation as a painter of animal, hunting and market scenes, but also of opulently conceived still lifes. His father ran a wine tavern, which was mainly frequented by artists, including perhaps Pieter Brueghel der Jüngere from the famous Brueghel family. In any case, Snyders became a student of Brueghel and learned the basics of painting in his workshop. On a journey through Italy, he became interested in portraiture and became acquainted with Titian's masterpieces. Back in his home town, however, Snyders turned mainly to still life and animal painting. Shortly after his marriage to Margaretha de Vos, his fruitful collaboration with Peter Paul Rubens began in 1610. He assisted him in the decoration of the Royal Hunting Pavilion Torre della Parada near Madrid. Snyders painted after Rubens' designs, but then freed himself from the great master and became a commercially very successful artist himself. Frans Snyders resided in the fashionable Keizerstraat in Antwerp and became the head of the St. Luke's painters' guild.
The early still lifes show his endeavours to capture flowers, fruit, vegetables, bread and goblets in their materiality in a deceptively real way on canvas. Soon, hunted rabbits and other animals also populated his hunting still lifes. Consequently, however, he was then interested above all in animals in a living state, driven by hunters. Extremely dramatically and dynamically he described for example a wild boar hunt with dogs or a bear hunt. The animals had no chance, Snyders usually depicted the dramatic climax of a hunting scene: the moment when the animal in a hopeless situation rears up again while the dogs bite into it. More calm and measured are the appetisingly draped market stalls, which Snyders also painted with great meticulousness. Dead feathered animals with hanging heads meet with freshly caught fish and a cat tries to steal something. Market women in contemporary dresses with lace collars have a lively chat with their customers. The baroque era of the Spanish Netherlands resurfaces before our eyes. Frans Snyders was such a great celebrity back then that, like Rubens, he did not feel it necessary to sign his paintings. That is why it is so difficult to attribute his works today, as he had a large number of students and assistants. But there have also been imitators, because his style was lucrative. Frans Snyders died in Antwerp in 1657, he was portrayed during the lifetime of Anthony van Dyck: a proud, successful representative of his painters' guild.
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