Frans Pourbus the Younger comes from a distinguished Antwerp family of painters. In the workshop of his father of the same name he learned the tools of the trade to bring people expressively onto canvas. As a painter at the Brussels court, he managed to gain an international reputation before he became court painter to the Duke of Mantua in 1600 and was appointed to the French royal court nine years later. Frans Pourbus was now at the zenith of his career.
The Flemish artist painted the rich and beautiful of his time. The list of those he portrayed reads like a who's who of the most powerful European ruling houses. His clientele included the young French king Louis XIII and his sister Elizabeth, later Queen of Spain. Above all, however, their mother, the French queen and temporary regent Maria de Medici, one of the most beautiful and glamorous women in Europe, had herself portrayed by him several times. Frans Pourbus staged the splendid fabrics worn by these ladies like hardly anyone else. Damask, silk, lace and brocade, painted by him, are what one would most like to touch. The pearl earrings and necklaces of the fine ladies glitter as if they were real. In his time, in the late 16th and early 17th century, the fine ladies and gentlemen liked the magnificently starched ruffles made of lace, which Pourbus painted in such detail, so you could feel the bobbin lace art. The master can thus be regarded as an early representative of trompe-l'oeil painting, the aim of which was to deceive the eye of the beholder and to make him believe that he was standing in front of the real person in his magnificent garment.
However, his artistic interest was not only in clothing and splendour, but above all in the personality of the portrayed persons. He created timelessly valid portraits and certainly flattered his clients from time to time by painting them more beautiful than they actually were. He liked them and they are still extremely popular today! He also portrayed intelligence and power appropriately. In precise, almost psychologizing head studies he painted, for example, three French judges, but he also portrayed the influential diplomat Vigilius von Aytta in a dignified manner.
However, the most famous portrait artist of his time also dealt with religious themes, which he staged opulently in the spirit of the early baroque. Thus there is a sermon by John the Baptist, which seems almost stage-like, and a Last Supper with Christ and his disciples, which is almost permeated with supernatural purity. Frans Pourbus was undoubtedly a painter prince of his time, who died in Paris in 1622 at the age of 50. His friend, the young Peter Paul Rubens was also influenced by the magnificent materiality of his garments and the soulfulness of his depictions of human beings in the most beautiful way.
Frans Pourbus the Younger comes from a distinguished Antwerp family of painters. In the workshop of his father of the same name he learned the tools of the trade to bring people expressively onto canvas. As a painter at the Brussels court, he managed to gain an international reputation before he became court painter to the Duke of Mantua in 1600 and was appointed to the French royal court nine years later. Frans Pourbus was now at the zenith of his career.
The Flemish artist painted the rich and beautiful of his time. The list of those he portrayed reads like a who's who of the most powerful European ruling houses. His clientele included the young French king Louis XIII and his sister Elizabeth, later Queen of Spain. Above all, however, their mother, the French queen and temporary regent Maria de Medici, one of the most beautiful and glamorous women in Europe, had herself portrayed by him several times. Frans Pourbus staged the splendid fabrics worn by these ladies like hardly anyone else. Damask, silk, lace and brocade, painted by him, are what one would most like to touch. The pearl earrings and necklaces of the fine ladies glitter as if they were real. In his time, in the late 16th and early 17th century, the fine ladies and gentlemen liked the magnificently starched ruffles made of lace, which Pourbus painted in such detail, so you could feel the bobbin lace art. The master can thus be regarded as an early representative of trompe-l'oeil painting, the aim of which was to deceive the eye of the beholder and to make him believe that he was standing in front of the real person in his magnificent garment.
However, his artistic interest was not only in clothing and splendour, but above all in the personality of the portrayed persons. He created timelessly valid portraits and certainly flattered his clients from time to time by painting them more beautiful than they actually were. He liked them and they are still extremely popular today! He also portrayed intelligence and power appropriately. In precise, almost psychologizing head studies he painted, for example, three French judges, but he also portrayed the influential diplomat Vigilius von Aytta in a dignified manner.
However, the most famous portrait artist of his time also dealt with religious themes, which he staged opulently in the spirit of the early baroque. Thus there is a sermon by John the Baptist, which seems almost stage-like, and a Last Supper with Christ and his disciples, which is almost permeated with supernatural purity. Frans Pourbus was undoubtedly a painter prince of his time, who died in Paris in 1622 at the age of 50. His friend, the young Peter Paul Rubens was also influenced by the magnificent materiality of his garments and the soulfulness of his depictions of human beings in the most beautiful way.
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