Page:Cyclopedia of painters and paintings (IA cyclopediaofpain02cham).pdf/404

 *master Jacob Bas and Wife, Museum, Amsterdam; Twelve Archers with their Captain (1588), City Hall, ib.—Allgem. d. Biogr., xv. 664; Immerzeel, ii. 105; Kramm, iii. 856; Nagler, Mon., ii. 102.

KEULEN. See Ceulen.

KEY, ADRIAAN THOMASZ, flourished in Antwerp in 1544-90. Flemish school; history and portrait painter, nephew of Willem Key, pupil of Jan Hack; master of Antwerp guild in 1568. Works: Two altar-wings with Last Supper, and portrait of Donors (1575), Museum, Antwerp; Female Portrait, Van Lerius Collection, ib.; Male do. (1672), Vienna Museum.—Engerth, Belvedere Gal., ii. 222; Immerzeel, ii. 106; Kramm, iii. 859; Nagler, Mon., i. 357; Riegel, Beiträge, i. 28; ii. 25; Rooses (Reber), 110; Van den Branden, 271.

KEY, WILLEM, born at Breda about 1520, died at Antwerp, June 5, 1568. Flemish school; history and portrait painter, pupil of Lambert Lombard at Liège; went to Antwerp, where he became master of the guild in 1542, and dean of the academy in 1552. He was the first portrait painter of prominence at Antwerp after Quinten Massys and Joos van Cleve, and was called to Brussels to paint Cardinal Granvella and the Duke of Alva; while painting the latter's portrait he accidentally overheard a conversation regarding the death sentence of Count Egmont, from which his nerves received such a shock that he died on the day of Egmont's execution. Works: Entombment, Six Collection, Amsterdam; Elderly Man's Portrait, A Knight of Malta, Portrait of Gillis Mostaert, Vienna Museum; Male Portrait, Hermitage, St. Petersburg.—Allgem. d. Biogr., xv. 692; Engerth, Belvedere, Gal., ii. 224; Van den Branden, 267.

KEYSER, NICAISE DE, born at Sandvliet, near Antwerp, Aug. 26, 1813. History and genre painter, pupil of Joseph Jacops (born in 1803), and of Antwerp Academy under M. J. van Bree; completed his studies in travels through Italy, France, Germany, and England; painted at first biblical subjects, then acquired reputation with battle-pieces, and finally took up historical genre. Medals: Great Gold Medal, Brussels, 1836; Paris, 2d class, 1840, and medals at almost all exhibitions in Belgium and Holland; Order of Leopold, 1839; Officer, 1855; Bavarian Order of St. Michael, 1851; Order of Lion, 1844; Commander of Order of Oaken Crown, 1857; Swedish Order of the Polar Star; Würtemberg Crown Order; L. of Honour, 1862. Member of Brussels (1845) and several other academies. Having settled at The Hague after 1845, he successfully represented the National Dutch art-faction in opposition to Baron Wappers, Director of the Antwerp Academy, whom he succeeded in that position in 1855. Works: Filial Love (1833); Crucifixion (1834); St. Dominick receiving the Rosary (1835); Battle of the Golden Spurs in 1302 (1836), Courtray Museum; The Holy Women at Christ's Tomb (1836); Battle of Woeringen in 1288 (1839), Brussels Museum; Roman Pifferari at Siesta (1840), Kunsthalle, Hamburg; Monk sitting at Alms Box in a Cloister (1841), New Pinakothek, Munich; Pietà, Return from Madonna Festival near Naples, Hans Memling in St. John's Hospital at Bruges (1841); The Antiquary (after Walter Scott); The Smith of Naarden; Italian Robber in Prison preparing for Death; Battle of Nieuport (1844), Battle of Séneffe, King of Holland; Peter of Amiens preaching the First Crusade in 1093 (1845); The Giaour, Death of Maria de Medici (1845), National Gallery, Berlin; Rubens painting the Chapeau de Paille (1847), Margaret of Austria and Maria of Burgundy visiting Memling at Bruges, Royal Palace, ib.; Daughter of Jairus, East and West, King of Würtemberg; Episode in Massacre of the Innocents (1855), Ghent Museum; Elizabeth of Hungary distributing