Page:Cyclopedia of painters and paintings (IA cyclopediaofpain04cham).pdf/277

 *scape, but occasionally biblical and mythological subjects; his earlier works are heavy in tone and crude in colour, while in his later pictures he approached, in freedom of treatment and harmony of colour, the manner of his famous son. Works: Rocky Landscape, Conversation, Playing at Bowls, National Gallery, London; Christ on Mount of Olives, Seven Works of Mercy, St. Paul's, Antwerp; Transfiguration (1615), Church at Dendermonde; Landscape, Brussels Museum; do. with Castle, Brunswick Gallery; Bleachery, Interior of Peasant Room, Bamberg Gallery; Temptation of St. Anthony, Berlin Museum; Peasant's Frolic by a Tavern, Cassel Gallery; do., Darmstadt Museum; Dutch Kirmess (2), Landscapes (4), Dutch Bleachery, Dresden Gallery; Smoker and Tippler, Ferdinandeum, Innsbruck; Rocky Ravine with Figures, Peasant carrying a Pole, Old Pinakothek, Munich; Tavern Interior, Oldenburg Gallery; Temptation of St. Anthony, Gypsy Women in a Ravine, Schwerin Gallery; Smoking Room (2), Stockholm Museum; A Painter at his Easel (1641), Two Landscapes, Hermitage, St. Petersburg; Pan with Nymphs and Satyrs, Vertumnus outwitting Pomona, Juno demanding Io of Jupiter, Mercury putting Argus to Sleep (1638), Landscapes (4), Vienna Museum; Physician with a Bottle, Uffizi, Florence; Temptation of St. Anthony, Dutch Kitchen, New York Museum.—F. J. van den Branden, 752; Ch. Blanc, École flamande; Immerzeel, iii. 130; Kramm, vi. 1608; vii. 145; Michiels, vii. 428; Rooses (Reber), 385; Van den Branden, 750.

TENIERS, DAVID, the younger, born in Antwerp, baptized Dec. 15, 1610, died at Perck, near Brussels, April 25, 1690. Flemish school; genre, landscape, and portrait painter, son and pupil of David the elder; developed under the influence of Rubens, and especially of Brouwer. Master of Antwerp guild in 1632, its dean in 1644-45, was made court painter to Archduke Leopold Wilhelm, governor of the Netherlands, and settled, between 1648 and 1652, in Brussels, where he was received into the guild in 1675. He was the prime mover in the foundation of the Antwerp Academy in 1663. Equally favoured by Leopold Wilhelm's successor, Don Juan of Austria, who is said to have studied under him; he received important commissions from Philip IV. of Spain, and marks of esteem from Queen Christina of Sweden and the great in England and other countries. The Count of Fuensaldaña sent him to England to buy works by the Italian masters. He holds the first position among the genre painters of Flanders. Picturesque arrangement, exquisite harmony of colouring in all details, and a light and sparkling touch characterize his pictures, in which two periods may be distinguished—the earlier, up to 1640, in which a somewhat heavy brown tone prevails, gradually attaining, up to 1644, a luminous golden tone, and the later, up to 1660, in which he changed into a cool silvery hue; after that he again adopted a decided golden tone. In 1660 he published in Brussels a work containing about 200 engravings of pictures of the Italian and Flemish schools in the Archduke's gallery, executed from small copies made by himself from the originals. Of these copies 120 were sold in the Blenheim Palace sale (1886) for £2,002 10s. Works: Music Party, Boors Regaling, The Moneychangers, Players at Tric-Trac, eleven others, National Gallery, London; Boors Dancing (1645), Frolic in Village Courtyard (1649), Detachment of Civic Guard (1657), seven others, Buckingham Palace, ib.; Alchemist, Village Festival, five others, Bridgewater Gallery, ib.; Landscape (1649), Farmer's Family, two others, Grosvenor Gallery,