Frans Wouters

Variant namesFrans Wouters stavningsvariant: Franchouys Wouters stavningsvariant: Franz Wouters stavningsvariant: Frans Wovers stavningsvariant: Frans Wouter

DatesBiographical dates: 1610 - 1659 Dead: dead 1659 Born: born 1610 - 1614

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BiographyBiography: Landscape- and history painter. The son of Hendrik Wouters, a cabinet maker, Frans Wouters was born in Lierre. In 1628–1629 he was recorded as a pupil in Antwerp of Pieter van Avont, and in 1634 he moved to the studio of Peter Paul Rubens, where he may have worked on the decorations for the Pompa introitus Ferdinandi. In 1634/1635 he became a master in the Antwerp Guild of St. Luke, of which he later served as dean in 1649/1650. After entering the service of the German Emperor Ferdinand II, in 1636 he accompanied Ferdinand’s ambassador, Clement Radolti, to England, where he worked on various commissions for Charles I, including ceiling paintings with mythological themes for the royal castle. At the same time, he executed a number of small-scale landscapes with figures and must also have come into contact with his compatriot, Anthony van Dyck. By August 1641Wouters had returned to Antwerp, where, in his capacity as art dealer, he assisted in the valuation of paintings from Rubens’ estate. He remained in the city for the rest of his life. In 1648 he was involved in the sale of the art collection of the 2nd Duke of Buckingham by the Parliamentary Commissioners. At about the same time, Wouters entered the service of the Archduke Leopold Wilhelm. He taught Jacob Huysmans. Wouters’ style and subjects are closely linked to the taste of his clients: the small-scale format of his paint- ings, their decorative landscape compositions and largely mythological staffage are related to the fact that the work was primarily intended for aristocratic buyers and for the international art trade. After settling in Antwerp again in 1641, Wouters’ landscape compositions, often populated with small mythological figures, were subject to the influence of Rubens’ late work, particularly in the pastoral atmosphere and the Venetian-looking stands of trees. From about 1648, after entering the service of Archduke Leopold Wilhelm, Wouters produced work of a different character: under the influence of Van Dyck, his figures acquired a more emotive and attenuated appearance and a greater tension is evident in the more emotional facial expressions.

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