生活

Frans Floris出生在安特卫普。他是著名艺术家家族的后裔,最初与“德Vriendt”这个名字。已知的最早的祖先Floris de Vriendt家庭,然后仍只叫“德Vriendt”,是居民布鲁塞尔他们练习的石匠技艺和石匠从父亲传给儿子。Frans祖先之一,1406年成为大师布鲁塞尔石匠行会。一个家庭成员,Jan Florisz。de Vriendt,离开了他的家乡布鲁塞尔和定居在安特卫普在15世纪。他的姓名“Floris”成为了常见的姓氏后代。最初的形式“de Vriendt”可以,然而,仍然被发现在官方文件,直到16世纪晚期。

弗兰斯的兄弟是著名的艺术家。最著名的一个Cornelis他是一位建筑师和雕刻家的设计者之一安特卫普市政厅。雅各Floris画家的彩色玻璃窗和简Floris波特。1月前往西班牙练习他的艺术,英年早逝。

纪录片关于Frans Floris生活的证据是缺乏的。我们知道弗兰斯Floris的青年和培训是基于早期的传记作家卡雷尔·曼德艺术家的传记。在十页的最详细的传记之一范·曼德Het Schilder-boeck出版于1604年。根据van曼德,Frans Floris是石匠的儿子Cornelis我德Vriendt(1538年去世)。和他的兄弟一样,弗兰斯开始作为一个雕塑的学生,但是后来他放弃了雕塑,绘画。Floris去列日他曾在那里著名的画家兰伯特朗伯德。伦巴第的选择作为一个老师是令人惊讶的安特卫普以来与许多杰出的画家的文化中心。他可能选择了伦巴第和他哥哥Cornelis伦巴第的好朋友,他在罗马会见了1538左右。也有可能Frans训练作为一个画家在安特卫普在伦巴第先生的指导下学习。安特卫普Floris成为大师圣卢克的公会在1539 - 40。

在意大利伦巴第鼓励Frans Floris研究。他前往罗马可能早在1541年或1542年,成为着迷意大利当代绘画(尤其是米开朗基罗和拉斐尔)和罗马的古典雕塑和艺术。他把一个笔记本的草图,他的学生后来腐蚀。在意大利包括Floris访问其他城市曼图亚和热那亚.

在他回到安特卫普大约在1545年,Frans Floris开了一个研讨会在意大利的模型。他成为最主要的历史画家,被称为“佛兰德拉斐尔”。他喜欢赞助等知名人士的富人安特卫普银行家Niclaes Jonghelinck谁的房子他画了一系列十成分的传说赫拉克勒斯在文科和7个成分。他还画了14个大公爵面板Aarschot博蒙特的宫殿。当地贵族的骑士金羊毛,王子的橙埃格蒙特的计数和角(后来的领导人荷兰反抗)访问Floris家中,吸引了他的艺术声誉以及他的能力和对任何话题的伟大的洞察力和判断力”。他也搬到圆的主要人文主义者如亚伯拉罕Ortelius,克利斯朵夫Plantin,卢卡斯de Heere兰伯特伦巴第,Dominicus Lampsonius和波旋塞。这群知识分子和艺术家是第一个开发理论对艺术和艺术家在低地国家的角色。安特卫普市当局1549年Floris委托设计的装饰欢乐的条目到安特卫普查理五世的西班牙和菲利普亲王。

他哥哥Cornelis为他设计了一个宫殿在安特卫普的正面蓝色石灰岩和豪华的装饰品,如镀金皮革墙面装饰在卧室里。facade本身是由弗兰斯设计的。他的设计方案外观旨在说明艺术家社会地位高。他画的正面七人格化象征着艺术家的素质和技能:精度(事物),实践(通常),劳动(劳动),勤奋(工业)、经验(Experientia),赞美(劳达)和架构(当时)。房子的门口上方一口气描绘科学(七个文科与绘画和架构)是人类社会的主要组件。未知的monogrammist TG facade在1576年打印.约瑟夫Linnig犯了一个画的宫殿在19世纪,但那时大部分外墙的装饰已经消失了。他表达了类似的想法在他的作文艺术的觉醒(博物馆德·德·庞塞).

1547年Floris克拉拉Boudewijns结婚,这对夫妇有一个女儿和两个儿子。Frans儿子和浸信会被他们的父亲后来训练艺术家。浸信会英年早逝而弗兰斯搬到了意大利,他有一个成功的职业生涯。

Frans Floris已知勤奋也证实了他的座右铭;Als柳枝稷werck、丹leef难闻:Als柳枝稷spelen gae,丹sterf难闻。这意味着“当我工作,我住:当我玩的时候,我死了。“范·曼德叙述Floris几乎总是有一个大的委员会在他的工作室,他会晚上工作到很晚,,当他打瞌睡了学生将脱掉鞋子和袜子,把他放到床上之前就离开了。范·曼德引用弗兰芒通断言Floris是谁爱他的学生比其他安特卫普大师让他们更多的自由。当一小群学生遇到了一个聚会在他死后他们能够编译一组120名学生。

范·曼德叙述了,在他生命的最后Floris成为负债累累的,开始喝酒。债务很可能与他的生活高成本的影响Beeldenstorm或打破旧习的愤怒,从1560年代开始,并在1566年达到顶峰。期间破坏偶像教堂,天主教艺术和多种形式的配件及装饰被名义上加尔文主义的新教的一部分人群新教改革。据说Floris从来没有从那次打击中恢复过来看到他的作品被毁。相反,他发现自己在一个恶性循环在他的个人和专业的事务。他的不满是如此之大,他甚至拒绝恢复自己的作品在Beeldenstorm受损。他几乎停止绘画1566年之后,他的位置的主要历史画家哈普斯堡皇室荷兰被年轻一代的艺术家其中貂德沃斯成为最突出的。

Life

Frans Floris was born in Antwerp. He was the scion of a prominent artist family which originally went with the name ‘de Vriendt’. The earliest known ancestors of the Floris de Vriendt family, then still called only ‘de Vriendt’, were residents of Brussels where they practiced the craft of stonemason and stonecutter which was passed on from father to son. One of Frans' ancestors became in 1406 a master of the Brussels stonemasons guild. A family member, Jan Florisz. de Vriendt, left his native Brussels and settled in Antwerp in the mid-15th century. His patronymic name ‘Floris’ became the common family name in subsequent generations. The original form ‘de Vriendt’ can, however, still be found in official documents until the late 16th century.

Frans' brothers were prominent artists. The most famous one is Cornelis who was an architect and sculptor and was one of the designers of the Antwerp City Hall. Jacob Floris was a painter of stained-glass windows and Jan Floris was a potter. Jan traveled to Spain to practice his art there and died young.

Documentary evidence about the life of Frans Floris is scarce. Most of what we know about the youth and training of Frans Floris is based on the early biographer Karel van Mander's biography of the artist. At ten pages long it is one of the most detailed biographies in van Mander's Het Schilder-boeck published in 1604. According to van Mander, Frans Floris was the son of the stonecutter Cornelis I de Vriendt (died 1538). Like his brothers, Frans began as a student of sculpture, but later he gave up sculpture for painting. Floris went to Liège where he studied with the prominent painter Lambert Lombard. The choice for Lombard as a teacher was surprising since Antwerp was a cultural centre with many outstanding painters. He may have chosen Lombard as his brother Cornelis was good friends with Lombard, whom he had met in Rome around 1538. It is also possible that Frans trained as a painter in Antwerp before studying under Lombard. Floris became a master in the Antwerp Guild of Saint Luke in 1539–40.

Lombard encouraged Frans Floris to study in Italy. He traveled to Rome probably as early as 1541 or 1542 and became fascinated with Italian contemporary painting (particularly Michelangelo and Raphael) and the Classical sculpture and art of Rome. He kept a notebook of sketches, which his pupils would later etch. Floris visited other cities in Italy includingMantua and Genoa.

Upon his return to Antwerp around 1545, Frans Floris opened a workshop on the Italian model.He became the leading history painter and was called the ‘Flemish Raphael’. He enjoyed the patronage of prominent personalities such as the wealthy Antwerp banker Niclaes Jonghelinck for whose house he painted a series of ten compositions on the legend of Hercules and seven compositions on the liberal arts. He also painted 14 large panels for the duke of Aarschot's palace of Beaumont. Local nobility including the knights of the Golden Fleece, the Prince of Orange and the Counts of Egmont and Horn (later the leaders of the Dutch Revolt) visited Floris at his home, attracted by his artistic reputation as well as his ability to talk with ‘great insight and judgment on any topic’ He also moved in the circle of the leading humanists such as Abraham Ortelius, Christophe Plantin, Lucas de Heere, Lambert Lombard, Dominicus Lampsonius and Hieronymus Cock. This group of intellectuals and artists was the first to develop theories on art and the role of artists in the Low Countries. In 1549 Floris was commissioned by the Antwerp city authorities to design the decorations for the Joyous entry into Antwerp of Charles V of Spain and the Infante Philip.

His brother Cornelis designed a palace for him in Antwerp with a façade of blue limestone and with luxurious decorations such as gilded leather wall-coverings in the bedroom. The façade itself was designed by Frans. His design program for the façade was intended to illustrate the high status of artists in society. He painted the façade with seven personifications symbolizing the qualities and skills of an artist: Accuracy (Diligentia), Practice (Usus), Labor (Labor), Diligence (Industria), Experience (Experientia), Praise (Lauda) and Architecture (Architectura). Above the doorway of the house a relief depicted the sciences (the seven liberal arts together with painting and architectures) as the principal components of human society. The unknown monogrammist TG portrayed the façade in 1576 in a print. Jozef Linnig made a drawing of the palace in the 19th century but by that time most of the decoration of the façade had disappeared. He expressed similar ideas in his composition The awakening of the Arts (Museo de Arte de Ponce).

In 1547 Floris married Clara Boudewijns and the couple had one daughter and two sons. The sons Frans and Baptist were later trained as artists by their father. Baptist died young while Frans moved to Italy where he had a successful career.

Frans Floris was known to be hardworking as is testified by his motto;Als ick werck, dan leef ick: als ick spelen gae, dan sterf ick. This means "When I work, I live: when I play, I die." Van Mander recounts that Floris nearly always had a large commission in his workshop on which he would work late at night, and that when he dozed off his pupils would take off his shoes and stockings and put him to bed before they left. Van Mander cites Frans Menton who asserted Floris was loved by his pupils for allowing them more freedom than other Antwerp masters. When a small group of his pupils met up for a reunion after his death they were able to compile a list of 120 of his pupils.

Van Mander recounts that at the end of his life Floris became heavily indebted and started drinking. The debts were likely related to his high costs of living as well as the impact of the Beeldenstorm or Iconoclastic Fury that commenced from the 1560s and reached its peak in 1566. During the period of iconoclasm, Catholic art and many forms of church fittings and decoration were destroyed by nominally Calvinist Protestant crowds as part of the Protestant Reformation. It is said Floris never recovered from the shock of seeing his artworks destroyed. Instead, he found himself in a downward spiral in both his personal and professional affairs. His disaffection was so great that he even refused to restore his own works damaged during the Beeldenstorm. He virtually stopped painting after 1566 and his place as the leading history painter in the Habsburg Netherlands was taken by a younger generation of artists among whom Marten de Vos became the most prominent.

Van Mander recounts that while working on a large commission for the grand prior of Spain, Floris became ill and died on 1 October 1570 in Antwerp. His paintings for the grand prior were finished by his studio assistants Frans Pourbus the Elderand Crispin van den Broeck. Poems were written about him by Dominicus Lampsonius and the poet-painter Lucas de Heere, who according to van Mander, was his pupil.