Frans Snyders or Frans SnijdersThe artist signed documents with 'Franchoijs Snijders' (11November 157919August 1657) was a Flemish painter of animals, hunting scenes, market scenes, and still lifes. A versatile artist, his works depict all sorts of foods, utensils, and tableware and wide assortment of animals. He was one of the earliest specialist animaliers and he is credited with initiating a wide variety of new still-life and animal subjects in Antwerp. His hunting scenes and still lifes engage the viewer with their dramatic and dynamic effects. He was a regular collaborator with leading Antwerp painters such as Peter Paul Rubens, Anthony van Dyck, Jacob Jordaens, and Abraham Janssens.Matthias Depoorter, Frans Snijders at barokinvlaanderen
Life Snyders was born in Antwerp as the son of Jan Snijders, the keeper of a wine inn frequented by artists. According to legend the famous 16th-century painter Frans Floris squandered his fortune in the inn of his father. Snyders' mother was Maria Gijsbrechts. Snyders had five siblings. His brother Michiel also became a painter but no works of him are known.Frans Jozef Peter Van den Branden, Geschiedenis der Antwerpsche schilderschool, Antwerpen, 1883, pp. 1132–1133
Snyders was recorded as a student of Pieter Brueghel the Younger in 1593, and subsequently trained with Hendrick van Balen, who was the first master of Anthony van Dyck. Snyders became a master of the Antwerp Guild of Saint Luke in 1602. He travelled to Italy in 1608-9 where he first resided in Rome. The artist subsequently traveled from Rome to Milan. Jan Brueghel the Elder had introduced him there by letter to the famous art collector Cardinal Borromeo. Brueghel asked Snyders to paint a copy after a portrait by Titian in the Borromeo collection. This is regarded as evidence that Snyders was a skilled figure painter before he turned his attention to still life painting.Frans Snyders, The game dealer at Christie's
Snyders had returned to Antwerp in the spring of 1609. In 1611 he married Margaretha, the sister of Cornelis de Vos and Paul de Vos, two leading painters in Antwerp. His collaboration with Rubens started in the 1610s.
Snyders had many patrons including the Ghent Bishop Antonius Triest who commissioned four paintings of market scenes around 1615 (Hermitage Museum, Saint Petersburg). He was a friend of van Dyck who painted Snyders and his wife more than once (Frick Collection, Kassel etc.). Snyders was commercially successful and was able to purchase a house on the high-end Keizerstraat in Antwerp. In 1628 he became the dean of the Guild of Saint Luke.
In the period 1636–1638, he was one of the Antwerp artists who assisted Rubens in a large commission for decorations for the hunting pavilion Torre de la Parada of Philip IV of Spain. The two artists also worked together on decorations for the Royal Alcazar of Madrid and the royal Buen Retiro Palace in Madrid.Anne T. Woollett, Ariane van Suchtelen, et al., Rubens & Brueghel: A Working Friendship, Los Angeles: J. Paul Getty Museum, 2006. Snyders painted about 60 hunting paintings and animal pieces after designs by Rubens. In 1639 Rubens and Snyders received a follow-up commission for an additional 18 paintings for the hunting pavilion.
After Peter Paul Rubens' death Snyders acted as one of the appraisers of the inventory of Rubens' collection.
In the years 1641 and 1642 Snyders traveled with other artists to the Dutch Republic. In 1646 Snyders was probably in Breda working on a commission. Snyders became a widower in 1647. He died on 19 August 1657 in Antwerp. He died childless and bequeathed his fortune to his sister, a beguine. The Antwerp art dealer Matthijs Musson acquired his extensive art collection which included works of leading 16th and 17th century Flemish and Dutch artists such as Rubens, Anthony van Dyck, Hendrick van Balen, Jan Breughel the Elder, Pieter Bruegel the Elder, Joos van Cleve, Coninxloo, Jacob Foppens van Es, Willem Claeszoon Heda, Jacob Jordaens, Lucas van Leyden, Jan Lievens, Lambert Lombard, Jan Massys, Joachim Patinir, Adriaen van Utrecht and Frans Ykens.Frans Snyders at Sphinx Fine Arts
He had many apprentices. His pupils are believed to have included Nicasius Bernaerts, Peter van Boucle, Juriaen Jacobsze, Jan Roos and Paul de Vos. Jan Fyt (Joannes Fijt) was a student, and then assistant of Snyders from 1629.Frans Snijders at the Netherlands Institute for Art History Peter van Boucle claimed that he was a pupil of Frans Snyders but there are no written sources available in Antwerp that support this contention. However, there are stylistic similarities in van Boucle's works which suggest that he worked in the circle of Frans Snyders.Peter van Boucle at the Netherlands Institute for Art History
Work General Snyders initially devoted himself to painting flowers, fruit and still lifes. Later he turned to painting animals. He was particularly interested in depicting wild animals, which he showed engaged in lively hunts and fierce combats. He was one of the earliest specialist animaliers. His work as an animal painter was very influential on his contemporaries as well as on 18th-century French animaliers such as Jean-Baptiste Oudry and François Desportes. Jean-Baptiste-Siméon Chardin's masterpiece The Ray recalls Snyders' pictorial strength.Two Monkeys Stealing Fruit from a Basket at the Louvre
His residence in Italy is believed to have had an important influence on his style of fruit painting. He is likely to have seen Caravaggio's Basket of Fruit in Cardinal Borremeo's collection in Milan.
Market and pantry scenes Snyders painted many market scenes and his earliest work in this area was inspired by the work of Pieter Aertsen and Joachim Beuckelaer who had pioneered and developed the genre in 16th century Antwerp. Whereas Aertsen and Beuckelaer often included a religious scene in the background of their market pieces, Snyders dispensed with this. Initially he worked in a Mannerist idiom. His style gradually matured as a result of his exposure to Italian art during his trip to Italy and the work of Rubens after his return to Antwerp. As a result, the dark surroundings of his early still lifes disappeared after 1614 and he became a fine colourist with strong compositional skills allowing him to structure a profusion of disparate objects.
He not only created many large market and pantry scenes and game still lifes, usually including dead deer, he also painted smaller works which were reminiscent of the breakfast pieces and still lifes that originated in northern art around 1600. Rather than continue the descriptive manner of the Antwerp painter Osias Beert, Snyders' innovative still lifes combined objects in groups to form a geometrically structured composition. Recurring motifs were dead hares and birds, tazze (shallow dishes on a tall foot), baskets with grapes and other fruit, enamelled pitchers and Chinese Kraak porcelain.
Snyders typically depicted game in the stage before it is prepared as food. These dead animals therefore resemble hunting trophies, which were often not even intended as food but rather for stuffing. Snyders often included live animals such as cats to create a contrast between the animate and inanimate elements.Norbert Schneider, Still Life, Taschen, 2003 Snyders' large game pieces were very influential and the Dutch painter Jan Davidsz. de Heem, who worked in Antwerp for a significant period of time took inspiration from Snyders' work to develop his own large-scale game pieces.Sheila D. Muller, Dutch Art: An Encyclopedia, Routledge, 2013, p. 366
The large and abundant still lifes of Snyders have been interpreted in many ways. Some read a propagandistic message into these paintings. The display of the luxurious abundance available in Antwerp which was at the time under Spanish administration possibly served the propagandistic purpose of showing the superiority of Spanish rule over Flanders when compared with Protestant control over the rebellious Northern Netherlands.Frans Snyders and Workshop, Market Scene on a Quay at artnc.org
While in the Baroque tradition many of his compositions are complex and dynamic some are more focused and quiet. An example of the latter is the Grapes, Peaches and Quinces in a Niche (Museum of Fine Arts, Boston), where his brushwork is also more sketchy than usual.Peaches and Quinces in a Niche at the Museum of Fine Arts, Boston
Collaborations
Snyders is believed to have been a skilled figure painter in his own right as is evidenced by Jan Breughel the Elder's request that he make a copy after a Titian portrait in the Borromeo collection during his stay in Milan. Even so, he still often collaborated with figure artists such as Rubens, Anthony van Dyck, his brother-in-law Cornelis de Vos, Theodoor van Thulden and Jan Boeckhorst, who painted the figures in compositions to which he added the still life elements. He also collaborated with landscape specialists such as Jan Wildens, who provided the landscape setting for his hunting scenes.
Collaborations with Rubens were particularly frequent. Snyders' expressiveness and ability to render different textures of furs and skins excited the admiration of Rubens. Rubens frequently employed him to paint animals, fruit and still life in his own pictures. Snyders developed a particularly close collaborative relationship with Rubens between 1610 and 1640. Their collaborative efforts are well documented. In the early period of their collaboration, Rubens would paint an oil sketch of the complete composition and mark out clearly where Snyders would have to put his contribution. This has been documented for the painting The Recognition of Philopoemen. It is possible that in this early period Rubens was not sure about Snyders' compositional skills and wanted to show him the way. In the later Prometheus bound the process was reversed and Snyders made a sketch leaving the space for the figure by Rubens.Susan Merriam, Seventeenth-Century Flemish Garland Paintings. Still Life, Vision and the Devotional Image, Ashgate Publishing, Ltd., 2012, p. 53 The Recognition of Philopoemen is considered the first Baroque still life with figures.Hella Robels. "Snyders, Frans." Grove Art Online. Oxford Art Online. Oxford University Press. Web. 20 July 2015 A famous collaboration between Rubens and Snyders is the Medusa (Kunsthistorisches Museum, Vienna). Painted around 1613–1617/1618, this small-scale work showed that Snyders' manner was not only well suited to Rubens' large pieces, but also adaptable to his smaller-scale works.Susan Koslow, How looked the Gorgon then . . . The Science and Poetics of 'The Head of Medusa' by Rubens and Snyders , in: Shop Talk: Studies in Honor of Seymour Slive, Cambridge, Mass., 1995, pp. 147–149 Rubens relied on Snyders to create the visual richness that went hand in hand with his Baroque style, which stressed abundance and bounteousness. The two artists' brushwork was so close that contemporaries had difficulty distinguishing their contributions in collaborative works.
His pupil and brother-in-law Paul de Vos was also a regular collaborator with Rubens. One art historian has compared Paul de Vos' contributions to Rubens' hunting scenes with those of Frans Snyders' and found de Vos to be less accurate in the animal anatomy and less accomplished in the psychological expression of the animals. Other art historians regard the hunting scenes of de Vos as more dynamic and evidencing a more personal style when compared with those of Snyders, who was more a still life painter. The expressive style and motifs of Rubens' animal paintings had an important influence on both Snyders and de Vos.Arnout Balis, Rubens' hunting scenes, Part 18, Harvey Miller, 5 Mar 1987, pp. 70–87