Joos van Cleve
Paintings
The Suicide of Lucretia
Saint Jerome in His Study
The Annunciation
The Infant Christ and Saint John the Baptist as Children embracing in a Landscape
The Holy Family
The Holy Family
The Saviour
Portrait of an Old Man
The Last Judgment
The Holy Family 2
Emperor Maximilian I
Joris Vezeleer
The Crucifixion
The Nativity
Virgin and Child
The Infant Christ on the Orb of the World
Self-Portrait
Madonna and Child en throned and Saint Joseph. Saint George and Saint Catherine with the donors
Saint Jerome in His Study
Margaretha Boghe, Wife of Joris Vezeleer
Portrait of a Man
Workshop of Joos van Cleve
The Infants Christ and John the Baptist Embracing
Virgin and Child
Holy Family
Portrait of a Man
The Holy Family
Saint Mary with the Christ Child
The (large) Adoration of the Magi
Joos
van Cleve (/ˈkleɪvə/;[1] also Joos van der Beke; c. 1485 – 1540/1541)
was a painter active in Antwerp around 1511 to 1540. He is known for
combining traditional Netherlandish painting techniques with influences
of more contemporary Renaissance painting styles.[2]
An
active member and co-deacon of the Guild of Saint Luke of Antwerp, he
is known mostly for his religious works and portraits of royalty. As a
skilled technician, his art shows sensitivity to color and a unique
solidarity of figures.[3] He was one of the first to introduce broad
landscapes in the backgrounds of his paintings, which would become a
popular technique of sixteenth century northern Renaissance paintings.
He
was the father of Cornelius or Cornelis van Cleve (1520-1567) who was
also a painter and is believed to have suffered from a mental illness
and was therefore referred to as 'Sotte Cleef' (mad Cleef).[4][5]
Life
Altarpiece of the Lamentation, 1520-1525
Early life
Joos
van Cleve was born around 1485. The birthplace of Joos van Cleve is not
precisely known. In various Antwerp legal documents he is referred to
as ‘Joos van der Beke alias van Cleve’. It is therefore likely that he
came from the Lower Rhenish region or city named Kleve, from which his
name is derived. It is assumed that he began his artistic training
around 1505 in the workshop of Jan Joest, whom he assisted in the panel
paintings of the high altar for the Nikolaikirche in Kalkar, Lower
Rhine, Germany.[6]
Joos van Cleve is believed to have moved
to Bruges between 1507 - 1511 since his painting style is similar to
that of the painters of Bruges.[5] Later he moved to Antwerp, and in
1511 became a free master in the Antwerp Guild of Saint Luke. He was
co-deacon of the guild for several years around 1520, along with
presenting pupils between 1516 and 1536.[4] It is possible he spent
time in France at the court in 1529 or 1535. He may also have made a
trip to Italy around this time and to London (England) around
1535-1536.[5]
Personal life
He had two children from
his first marriage, a daughter and a son. His son Cornelis (1520)
became a painter. Although the date of his death is unknown, Joos van
Cleve drew up a will and testament on 10 November 1540, and his second
wife was listed as a widow in April 1541.[4]
Work
Alias and identity
Portrait of a man
From
the seventeenth to the nineteenth centuries, the name of Joos van Cleve
as an artist was lost. The paintings now attributed to Joos van Cleve
were, at that time, known as the works of “the Master of the Death of
the Virgin,” after the triptych currently in the
Wallraf-Richartz-Museum (Cologne). In 1894 it was discovered that the
monogram on the back of the triptych was that of Joos van der Beke, an
alias of Joos van Cleve.[4]
Artistic influences
The influence of Kalkar and Bruges are seen in many of Joos van Cleve’s early works, such as Adam and Eve (1507}. The Death of the Virgin (1520) shows the combined influence of several artists. It has the intense emotionality of Hugo van der Goes, and iconographic ideas of Jan van Eyck and Robert Campin. A strong influence of Italian art combined with Joos van Cleve’s own color and light sensitivity make his works especially unique. The “Antwerp Mannerist” style is identifiable in the Adoration of the Magi. It is thought that the “Antwerp Mannerists” were in turn influenced by Joos van Cleve.
Like
Quentin Matsys, a fellow artist active in Antwerp, Joos van Cleve
appropriated themes and techniques of Leonardo da Vinci. This is
apparent in the use of sfumato in the Virgin and Chil. Multiple
versions of a soft, sentimental Madonna and Child and the Holy Family
were discovered, produced in his workshop.[4]
Royal portraits
Joos
van Cleve’s skills as a portrait artist were highly regarded as
demonstrated by a summons to the court of Francis I of France. There he
painted the king, queen and other members of the court. One of Joos van
Cleve’s most famous works is his portrait of Eleanor of Austria, the
wife of Francis I.[4]
Virgin and child and Holy Family
Virgin and Child
Joos
van Cleve produced many versions of the Virgin and Child, the Holy
Family and the Virgin and Child with St Anne, which were very popular.
In some instances the original has been lost, but the type can be
recovered through the numerous replicas produced by his workshop and
copyists. There exist very similar versions of the composition of the
Virgin and Child, of which one is held at the Museum of Fine Arts,
Budapest and another was sold at Sotheby's on 30 January 2014. It is
full of charm and tenderness and was popular in his own time as well as
with later collectors. The composition shows the Virgin with a
brilliant red cloak, lined with fur and elaborately embroidered with
pearls along the outside edge. The Virgin is seated in a loggia-like
space with open windows through which a distant mountainous landscape
is visible. She has her lips parted in a slight smile while she helps
the Christ Child drink from a glass with red wine, a symbol of Christ's
future suffering and blood and the Eucharist. Characteristic of
Netherlandish painting of this period are the jewel-like colours and
the details of the Virgin’s costume and brocade pillow in the
foreground.[7]
The pose of the Holy Family in the
Metropolitan Museum of Art (c. 1518–20) is quoted from Jan van Eyck's
Lucca Madonna of c. 1435 (Städel, Frankfurt). The scene is placed in a
domestic setting and the Virgin is only depicted at half-length.
Another change in the composition is the addition of Joseph. The wine
and fruits on the foreground are a reference to Christ's incarnation
and future sacrifice. They also hint at the emerging genre of
still-life painting in Flanders.[8]
Works (partial list)
Mona Vanna
Saint Jerome in His Study, 1528
In chronological order
The Holy Family (1515), Akademie der bildenden Kunste, Vienna
Saint Reinhold Altar (before 1516), National Museum, Warsaw
Triptych. Centre: the Deposition from the Cross; Left wing: St John the
Baptist with a Donor; Right wing: St Margaret of Antioch with a
Donatrix (1518-1519), National Galleries Scotland, Edinburgh[9]
Self-Portrait (1519), Museo Thyssen-Bornemisza, Madrid
The Death of the Virgin (1520), Alte Pinakothek, Munich
Man with the Rosary (1520), National Museum, Belgrade[10]
Altarpiece of the Lamentation (1520–25), Musée du Louvre, Paris
The Suicide of Lucretia (1520–25), Kunsthistorisches Museum, Vienna
Portrait of a Man and Woman (1520 and 1527), Galleria degli Uffizi, Florence
The Annunciation (1525), Metropolitan Museum of Art, New York
The Infants Christ and Saint John the Baptist Embracing (1525–30), Art Institute, Chicago
Adoration of the Magi (1526–28), Gemaldegalerie, Dresden
Saint Jerome in his Study (1528), Princeton University Art Museum, Princeton
Portrait of Eleonora, Queen of France (1530), Kunsthistorisches Museum, Vienna
Virgin and Child (1535), Landesmuseum, Oldenburg
Madonna and Child against the renaissance background (c. 1535), Museum
of King Jan III's Palace at Wilanów, Warsaw
Dates unknown
Death of the Virgin, Wallraf-Richartz Museum, Cologne
The Holy Family, The Hermitage, St. Petersburg
Mona Vanna, National Gallery, Prague
Portrait of Agniete ven den Rijne, Rijksmuseum Twenthe, Enschede
Portrait of Anthonis van Hilten, Rijksmuseum Twenthe, Enschede
St. Anne with the Virgin and Child and St. Joachim, Musee Royaux des Beaux-Arts, Brussels
Virgin and Child, Szepmuveszeti Muzeum, Budapest
Triptych of Saint Peter, Saint Paul and Saint Andrew, Museu de Arte Sacra do Funchal
References
"Cleve". Random House Webster's Unabridged Dictionary.
"Rijksmuseum: Joos van Cleve".
Hand, John Oliver (2005). Joos Van Cleve: The Complete Paintings. Yale University Press. p. 1. ISBN 0-300-10578-9.
Campbell,
Lorne (2000). The fifteenth century Netherlandish paintings : National
Gallery catalogues (Repr. ed.). New Haven: Yale Univ. Press. ISBN
0-300-07701-7.
Joos van Cleve at the Netherlands Institute for Art History (Dutch)
John Oliver Hand. "Cleve, van (i)." Grove Art Online. Oxford Art Online. Oxford University Press. Web. 25 March 2015
Virgin and Child at Sotheby's
The Holy Family in the Metropolitan Museum of Art
Triptych.
Centre: the Deposition from the Cross; Left wing: St John the Baptist
with a Donor; Right wing: St Margaret of Antioch with a Donatrix
(1518-1519), National Galleries Scotland, Edinburgh
Man with the Rosary (1520), National Museum, Belgrade
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