最初从迪南或Bouvignes在今天的比利时，瓦隆区，Patinir成为注册成为会员安特卫普画家公会圣路加公会 1515年，他在那里度过了他的余生。他可能已经研究了杰拉尔德·大卫在布鲁日，谁已登记在同一年Patinir公会成员。1511年，Patinir被认为已经前往热那亚与大卫和阿德里安Ysenbrandt。

在1521年，Patinir的朋友杜勒参加了他的第二次婚礼和画他的肖像。丢勒称为Patinir“ 德固特Landschaftsmaler”（“景观的一个好画家”），从而创造一个新词后来被翻译成法语。Patinir常常让他的风景画矮他的数字，这是经常被其他艺术家的绘画作品。这种专业化在当时在低地国家成为普遍现象。他的许多作品是时荷兰绘画板异常大，因为是那些波希，大景观的另一位画家，从上一代。

Patinir的巨大景观自然结合的细节观察抒情幻想，其中最好的例子就是他的飞行到埃及（安特卫普博物馆）。在他的风景画岩石是那些在他的家乡迪南更壮观的版本。进一步的景观特色都画着一个绿色和蓝色的调色板它表达引起的距离调光。他的工作的其他例子包括其余的飞行进入埃及（普拉多，谁有四个Patinirs，其中包括两名签署的），基督受洗（两个在维也纳之一），圣 约翰在拔摩（或具有他的工作室，国家美术馆，伦敦），景观与牧羊人（安特卫普），以及休息的飞行到埃及（明尼阿波利斯艺术学院）。还有一个三联归因于他所谓的圣杰罗姆忏悔。[3]

只有五经Patinir的画作，但许多其他作品被归因于他或他的工作室有不同程度的概率。所签订的那些阅读：（作品）约阿希姆D. Patinier中，“D”，在他的签名标志着Dionantensis（“的迪南 ”），这可以从这个小镇证明他的出处。该展览在马德里的普拉多博物馆包含列为Patinir或他的工作室21张图片，并编目另外8哪些不是展览。[4]

Patinir是景观的先驱作为一个独立的流派，他是第一个佛兰芒画家主要是把自己作为一个风景画家。Patinir不仅是丢勒的朋友，但是昆汀Metsys为好，与他经常合作。圣安东尼的诱惑（普拉多）与Metsys，谁增加了数字来Patinir的山水协作已完成。他的职业生涯是与风景园林，绘画为主的其他主要开拓者近当代的阿尔布雷希特阿尔特多费尔，谁在一个非常不同的风格的工作。

Patinir死在安特卫普于1524年，和昆汀Metsys成了他的孩子的监护人。
 

Originally from Dinant or Bouvignes in present-day Belgium, Wallonia, Patinir became registered as a member of Antwerp's painters’ guild Guild of Saint Luke in 1515, where he spent the rest of his life. He may have studied with Gerard David at Bruges, who had been registered as a guild member in the same year as Patinir. In 1511, Patinir is believed to have travelled to Genoa with David and Adrien Ysenbrandt.

In 1521, Patinir’s friend Albrecht Dürer attended his second wedding and painted his portrait. Dürer called Patinir "der gute Landschaftsmaler" ("a good painter of landscapes"), thus creating a neologismtranslated later into the French. Patinir often let his landscapes dwarf his figures, which were frequently painted by other artists. Such specialisation had become common in the Low Countries at the time. Many of his works are unusually large for Netherlandish panel paintings of the time, as are those of Hieronymus Bosch, another painter of large landscapes, from a generation earlier.

Patinir's immense vistas combine observation of naturalistic detail with lyrical fantasy, the prime example of which is his The Flight into Egypt (Museum of Antwerp). The rocks in his landscapes are more spectacular versions of those around his native Dinant. The further landscape features are painted with a green and blue palette which expresses the dimming caused by distance. Other examples of his work include The Rest on the Flight into Egypt (Prado, who have four Patinirs, including two signed ones), The Baptism of Christ(one of two in Vienna), St. John at Patmos (by or with his workshop, National Gallery, London), Landscape with the Shepherds (Antwerp), and the Rest on the Flight to Egypt (Minneapolis Institute of Arts). There is also a triptych attributed to him called The Penitence of St. Jerome.[3]

There are only five paintings signed by Patinir, but many other works have been attributed to him or his workshop with varying degrees of probability. The ones that are signed read: (Opus) Joachim D. Patinier, the “D” in his signature signifying Dionantensis (“of Dinant”), which may attest to his provenance from this town. The exhibition at the Madrid Prado Museum contained 21 pictures listed as by Patinir or his workshop, and catalogued a further 8 which were not in the exhibition.[4]

Patinir was a pioneer of landscape as an independent genre and he was the first Flemish painter to regard himself primarily as a landscape painter. Patinir was the friend of not only Dürer, but with Quentin Metsysas well, with whom he often collaborated. The Temptation of St Anthony (Prado) was done in collaboration with Metsys, who added the figures to Patinir's landscape. His career was nearly contemporary with that of the other major pioneer of paintings dominated by landscape, Albrecht Altdorfer, who worked in a very different style.

Patinir died in Antwerp in 1524, and Quentin Metsys became the guardian of his children