Jan Matsys

The Antwerp Guild of St. Luke admitted Jan Matsys as a master in 1531, signaling his formal entry into the Flemish painting tradition shortly after his father, Quinten Matsys, died. Throughout his career, his output shifted from early collaborations with his father toward a distinct style influenced by the sensuality of the School of Fontainebleau and Mannerism.

Early Career and Training

Born in Antwerp in 1509, Jan Matsys received his initial training from his father, the painter Quinten Matsys. Following his father's death, he and his brother Cornelis joined the Guild of St. Luke in 1531. During this foundational period, he adhered closely to his father's stylistic conventions, a consistency evidenced by his 1537 depiction of St. Jerome in his cell. By 1538, he married Anna van Tuylt, and the couple went on to have three children, including a son named Quentin.

Exile and International Influence

In 1544, Jan and Cornelis were banished from Antwerp due to their religious affiliations. This period of displacement lasted until 1555 and significantly altered his artistic trajectory. He is believed to have spent time in France, Germany, and Italy, specifically Genoa, where he produced a portrait of Andrea Doria. Only nine works survive from this decade, demonstrating a marked shift toward the aesthetic characteristics of the School of Fontainebleau. Only two of these works, both dated 1552, contain his signature.

Return and Artistic Maturation

Following the lifting of his ban in 1555, Matsys returned to Antwerp, where he reached the peak of his career. He secured commissions from the city council, though these pieces were ultimately destroyed during the 1576 fire at the city hall, an event known as the Spanish Fury. During these later years, he prioritized subjects involving the female nude, using biblical figures such as Judith, Susanna, and Bathsheba to explore sensuality. He also gained recognition for genre scenes including merry companies, representations of unequal love, and figures like tax collectors and money changers, often incorporating moralizing themes.

Final Years

Matsys died in his native Antwerp in 1575. Despite his professional status, his final years were marked by financial hardship. His children eventually left the city, likely due to persistent religious tensions; his daughter Susan relocated to Italy, and his son Quentin, who had achieved master status in the Guild of St. Luke by 1574, died in Frankfurt in 1589. Over his career, Matsys trained pupils including Frans van Tuylt, Frans de Witte, and Olivier de Cuyper.

Fast facts

• Born: 1509, Antwerp
• Died: 1575, Antwerp
• Occupation: Painter
• Citizenship: Habsburg Netherlands
• Notable Works: A Merry Company, Venus Cythereia, The Ill-matched Pair
• Movement: Early Netherlandish painting, Mannerism
• Known pupils: Frans van Tuylt, Frans de Witte, Olivier de Cuyper

Questions readers ask

Why was Jan Matsys exiled from Antwerp in 1544?

He and his brother Cornelis were forced to leave the city due to their religious beliefs.

What subjects did Jan Matsys frequently depict in his later work?

He is noted for paintings of the female nude, merry companies, unequal love, and figures such as money changers or tax collectors.

Achievements

• Notable work: A Merry Company
• Notable work: Venus Cythereia
• Notable work: The Ill-matched Pair
• Movement: Early Netherlandish painting