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Christ presented to the People
Oil on panel. 1518 - 1520
Massys, Quinten
Christ presented to the People
Oil on panel. 1518 - 1520
Massys, Quinten

Massys was one of the most important painters in early sixteenth-century Antwerp. He continued the realism and attention to detail of fifteenth-century painting, as seen in the faces of the figures and the metallic reflection of one of the soldier’s helmets. This is combined with the influences of the Italian Renaissance in the use of architecture and classical decoration.The oblique perspective e

The Temptations of Saint Anthony
Oil on panel. 1520 - 1524
Massys, Quinten; Patinir, Joachim
The Temptations of Saint Anthony
Oil on panel. 1520 - 1524
Massys, Quinten; Patinir, Joachim

The format and the dimensions of this picture and the high horizon line allow for rendition of a large landscape, which displays what are generally regarded as the defining characteristics of Patinir`s style. Like the Rest on the Flight into Egypt (P1611), the foreground figures are shown on top of a hill in a scale suited to the proportions of the panel. On the much lower level of the middle grou

The Virgin in Prayer
Oil on oak panel. Ca. 1529
Massys, Quinten
The Virgin in Prayer
Oil on oak panel. Ca. 1529
Massys, Quinten

The position of the figures, looking at each other, is common for diptych paintings. However, we do not know if these were originally painted as pendants to each other. In 1597, this panel and Virgin Mary (P1562) were described in the Escorial as two “doors” of the same object. They may have been acquired as separate paintings and then hinged together as a diptych in the Royal Collection. Some sch

Christ the Saviour
Oil on oak panel. 1529
Massys, Quinten
Christ the Saviour
Oil on oak panel. 1529
Massys, Quinten

Quentin Massys was one of the leading Flemish painters of the late fifteenth and early sixteenth century and developed his professional career in Antwerp. The origin of this painting is unknown. It has belonged to the Royal Collection since the time of Philip II in the sixteenth century. The position of the figures, looking at each other, is common for diptych paintings. However, we do not know if

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