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Nicolaes Maes


 Painting - The Flight Of Lot by Nicolaes Maes

The Flight Of Lot

Sara Ingelbrechts

A Little Girl rocking a Cradle

A Woman scraping Parsnips, with a Child standing by her

Christ blessing the Children

Portrait of a Man in a Black Wig

Portrait of an Elderly Man in a Black Robe

Portrait of Jan de Reus

The Idle Servant

Woman Plucking a Duck

Adoration of the Shepherds

Woman Spinning

Old Woman at Prayer

Portrait of a Woman

Abraham Dismissing Hagar and Ishmael

Portrait of Four Children

The Eavesdropper

Eavesdropper with a Scolding Woman

The Lacemaker

Old Woman Dozing

Young Woman Peeling Apples

Old Woman Peeling Apples

Ingena Rotterdam, Betrothed of Admiral Jacob Binkes

Admiral Jacob Binkes

Portrait of a Young Girl Standing near a Fountain

Portrait of a Woman

Portrait of a Boy as Adonis

Portrait of a Woman

Portrait of a Woman

Portrait of a Woman

Portrait of a Young Woman

Portrait of a Man

Portrait of a Woman

Apostle Thomas

Christ before Pilate

The naughty drummer

Girl at the Window

Portrait of Margaretha de Geer

Portrait of Jacob Trip

Portrait of Justus CriexWoman peeling beets


Girl with basket

Sitting young woman

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Famous Artists - Adoration of the Shepherds by Nicolaes Maes

Adoration of the...

Nicolaes Maes, also known as Nicolaes Maas (January 1634 – November 24, 1693 (buried)) was a Dutch Golden Age painter of genre and portraits. Maes was born in Dordrecht, the son of Gerrit Maes, a prosperous merchant, and Ida Herman Claesdr. In about 1648 he went to Amsterdam, where he entered Rembrandt's studio. Before his return to Dordrecht in 1653 Maes painted a few Rembrandtesque genre pictures, with life-size figures and in a deep glowing scheme of colour, like the Reverie at the Rijksmuseum in Amsterdam, the Card Players at the National Gallery, and the Children with a Goat Carriage. So closely did his early style resemble that of Rembrandt, that the last-named picture, and other canvases in the Leipzig and Budapest galleries and in the collection of Lord Radnor, were or are still ascribed to Rembrandt.

In his best period, from 1655 to 1665, Maes devoted himself to domestic genre on a smaller scale, retaining to a great extent the magic of colour he had learnt from Rembrandt. Only on rare occasions did he treat scriptural subjects, as in Hagar's Departure, which has been ascribed to Rembrandt. His favorite subjects were women spinning, or reading the Bible, or preparing a meal. He had a particular fascination with the subject of lacemaking and made almost a dozen versions on this subject.

While he continued to reside in Dordrecht until 1673, when he settled in Amsterdam, he visited or even lived in Antwerp between 1665 and 1667. His Antwerp period coincides with a complete change in style and subject. He devoted himself almost exclusively to portraiture, and abandoned the intimacy and glowing color harmonies of his earlier work for a careless elegance which suggests the influence of Van Dyck. So great indeed was the change, that it gave rise to the theory of the existence of another Maes, of Brussels. His registered pupils were Justus de Gelder, Margaretha van Godewijk, Jacob Moelaert, and Johannes Vollevens.[1] Maes died in Amsterdam.

Maes is well represented at the London National Gallery by five paintings: The Cradle, The Dutch Housewife, The Idle Servant, The Card Players, and a man's portrait. At Amsterdam, besides the splendid examples to be found at the Rijksmuseum, is the Inquisitive Servant of the Six collection. At Buckingham Palace is The Listening Girl (repetitions exist), and at Apsley House Selling Milk and The Listener. Other notable examples are at the Berlin, Brussels, St Petersburg, the Hague, Frankfort, Hanover, Ottawa and Munich galleries.

Selected artworks

Portrait of Laurence Hyde, Earl of Rochester - Oil on canvas, 110,5 x 88 cm, Private collection
Christ Before Pilate (1649-1650) - Oil on canvas, 216 x 174 cm, Museum of Fine Arts, Budapest
Portrait of Four Children (Maes)|Portrait of Four Children (1657) - Oil on canvas, 150 x 112 cm, Groeningemuseum, Bruges
Christ Blessing the Children (1652-1653) -Oil on canvas, 206 x 154 cm, National Gallery, London
Portrait of Justus Criex (1666) - Oil on canvas, 109 x 92 cm, Museum of Fine Arts, Budapest
Eavesdropper with a Scolding Woman (1655) - Oil on panel, 46,3 x 72,2 cm, Private collection
The Idle Servant (1655) - Oil on wood, 70 x 53 cm, National Gallery, London
The Lacemaker (1649-1650) - Oil on canvas, Metropolitan Museum of Art, New York
The Lacemaker (1655) - oil on canvas National Gallery of Canada, Ottawa, Ontario
Old Woman Dozing (1656) - Oil on canvas, 135 x 105 cm, Royal Museums of Fine Arts of Belgium, Brussels
Portrait of a Woman (1667) - Oil on canvas, 90 x 72 cm, Musée d'Arras, Arras
Portrait of a Woman - Oil on canvas, 89,6 x 71,2 cm, Museum voor Schone Kunsten, Ghent
A Woman Spinning (1655) - Oil on panel, Rijksmuseum, Amsterdam
Apostle Thomas (1656) - Oil on canvas, Staatliche Museen
Woman Plucking a Duck (c. 1656) - Oil on canvas, Philadelphia Museum of Art, Philadelphia
Old Woman at Prayer (c.1656) - Oil on canvas, 134 x 113 cm, Rijksmuseum, Amsterdam
Doing the Accounts (1656) - Oil on canvas, 66 x 54 cm, Saint Louis Art Museum, Saint Louis
The Eavesdropper (1657) - Oil on canvas, 92 x 122 c, Public collection
Portrait of Jacob Trip (c. 1660) - Oil on canvas, 88 x 68 cm, Museum of Fine Arts, Budapest
Portrait of Margaretha de Geer, Wife of Jacob Trip (c. 1660) - Oil on canvas, 88 x 68 cm, Museum of Fine Arts, Budapest
Children Bathing (1665–1670) - Oil on canvas, 72 x 91 cm, Louvre, Paris
Portrait of Simon van Alphen (c.1680) - Oil on canvas, 71 x 57 cm, Rijksmuseum, Amsterdam


Nicolaes Maes in the RKD


Public Domain This article incorporates text from a publication now in the public domain: Chisholm, Hugh, ed. (1911). "Maes, Nicolas". Encyclopædia Britannica (11th ed.). Cambridge University Press.

Artist, Netherlands


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