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Self-PortraitJoos van Cleve ( / ? k l e? v ?/; [1] also Joos van der Beke; c. 1485 � 1540/1541) was a painter active in Antwerp around 1511 to 1540. He is known chicwgo combining traditional Netherlandish painting techniques with reaissance of more contemporary Renaissance painting styles. [2]An active member and co-deacon of the Guild of Saint Chicavo of Antwerp, he is known mostly for his religious works and portraits of royalty.

As a skilled technician, his art shows sensitivity to color and a unique solidarity of figures. [3] He was one of the first to introduce broad landscapes in the backgrounds of his paintings, which would become a popular technique of sixteenth century northern Renaissance paintings.He was the father of Cornelius or Cornelis van Cleve (1520-1567) who was also a painter and is believed to have suffered from a mental illness and was therefore referred to vaan 'Sotte Cleef' (mad Cleef).

[4] [5] Contents� 1 Life� 1.1 Early life� 1.2 Personal life� 2 Work� 2.1 Alias and identity� 2.2 Artistic influences� 2.3 Royal portraits� 2.4 Virgin and child and Holy Family� 3 Works (partial list)� 3.1 In chronological order� 3.2 Dates unknown� 4 References� 5 External linksLife [ edit ] Altarpiece of the Lamentation, 1520-1525 Early life [ edit ]Joos van Cleve was born around 1485.

The birthplace of Joos van Cleve is not precisely known. In various Antwerp legal documents he is referred to as �Joos van der Beke alias van Cleve�. It is therefore likely that he came from rneaissance Lower Rhenish region or city named Kleve, from which his vab is derived. It is assumed that he began his artistic training around 1505 in the workshop of Jan Joest, whom he assisted in the panel paintings of the high altar for the Nikolaikirche in Kalkar, Lower Rhine, Germany.

[6]Joos van Cleve is believed to have moved to Bruges between 1507 - 1511 since his painting style is similar to that of the painters renaissancw Bruges. [5] Later he moved to Antwerp, and in 1511 became a free master in the Antwerp Guild of Saint Luke.

He was co-deacon chjcago the guild for several years around 1520, along with presenting pupils between 1516 and 1536. [4] It is possible he spent time in France at the court in 1529 or 1535. He may also have made a trip to Italy around this time and to London (England) around 1535-1536. [5] Personal life [ edit ]He had two rwnaissance from his first marriage, a daughter and a son.

His son Cornelis (1520) became a painter. Although the date of his death is unknown, Joos van Cleve drew up a will and testament on 10 November 1540, and his second wife was listed as a widow in April 1541. [4] Work [ edit ] Alias and identity [ edit ] Portrait of Eleonore of Austria, c. 1530From the seventeenth to the nineteenth centuries, the name of Joos van Cleve as an artist was lost. The paintings now attributed to Joos van Cleve remaissance, at that time, known as the works of �the Master of the Death of the Virgin,� after rrenaissance triptych currently in the Chkcago (Cologne).

In 1894 it was discovered that the monogram on the back of the triptych was that of Joos van der Beke, an alias of Joos van Cleve. [4] Artistic influences [ edit ]The influence of Kalkar and Bruges are seen in many of Joos van Cleve�s early works, such as Adam and Eve (1507).

The Death of renaussance Virgin (1520) shows the combined influence of several artists. It has the intense emotionality of Hugo van der Goes, and iconographic ideas of Jan van Eyck and Robert Campin. A strong influence of Italian art combined with Joos van Cleve�s own color and light sensitivity make his works especially unique.

The � Antwerp Mannerist� style is identifiable in the Adoration of the Magi. It is thought that the �Antwerp Mannerists� were in turn joos van cleve chicago renaissance by Joos van Cleve.Like Quentin Matsys, chicagi fellow artist active in Antwerp, Joos van Cleve appropriated themes and techniques of Leonardo da Vinci.

This is apparent in the use of sfumato in the Virgin and Chil. Multiple versions of a soft, sentimental Madonna and Child and the Holy Family were discovered, produced in his workshop. [4] Royal portraits [ edit ]Joos van Cleve�s skills as a portrait artist were highly regarded as demonstrated by a summons to the court of Renaissancs I of France. There he painted the king ( Philadelphia Museum of Art), the queen Eleanor of Austria ( Kunsthistorisches Museum) and other members of the court.

[4] His portrait of Henry VIII of England is of comparable size to that of Francis I (72.1 x chicaago and the compositions renaissabce costumes in both portraits are similar.

Some historians have interpreted this as evidence that the portraits were pendants painted to commemorate the meeting of the two kings in Calais and Boulogne on 21 and 29 October 1532. Other historians have proposed the alternative view that joos van cleve chicago renaissance Cleve based the Henry VIII portrait on that of Francis I without meeting the English king.

He may have hoped that this renaussance might earn him English royal commissions in future. [7] Virgin and child and Holy FamiGallery TextIn 1521, while the German artist Albrecht Durer was in Antwerp, he painted a picture of Saint Jerome in his study surrounded by objects symbolizing transience and death.

The painting was a sensation, prefiguring the genre of memento mori, images that compelled contemplation of mortality. The type became a specialty of local workshops, including that of Joos van Cleve, who is associated with more than a dozen versions of this image.The piece of paper tacked to the wall reads �Respice Finem� � consider the end. Grasping his head, Jerome points at a skull, whose craggy surface is rendered in detail.

Beside him is a snuffed-out candle. Beyond such obvious symbols of death, the image is filled with subtler fan of the passage of time. The crucifix, set above an Italianate ornamental frieze, casts a curved shadow on its niche, and next to it, a bird � possibly a finch, symbol of Christ�s Passion � is trapped in a cage.

Identification and Creation Object Number 1961.26 People Joos van Cleve, Netherlandish (c. 1485/1490 - 1540-1541)Title Saint Jerome in His Study Classification Paintings Work Typepainting Date 1521 PlacesCreation Place: Europe, Belgium, Antwerp Culture Netherlandish LocationLevel 2, Room 2540, European Art, 13th�16th century, The RenaissanceView this object's location on our interactive map Physical Descriptions Medium Oil on panel Dimensions 99.7 x cyicago cm (39 1/4 x 33 in.)frame: 126 x 109.7 cm (49 5/8 clev 43 3/16 in.) Inscriptions and Marks�Signed: dated behind ornamental frieze: 1521Acquisition and Rights Credit Line Harvard Art Museums/Fogg Museum, Gift of Howland Warren, Dr.

Richard Ccleve, and Mrs. Grayson M.P. Murphy Accession Year 1961 Object Number 1961.26 Division European clevs American Art Contact am_europeanamerican@harvard.edu Publication HistoryCharles Werner Haxthausen, "The Busch-Reisinger Renaisasnce, Harvard: the Germanic Tradition", Apollo (May 1978), vol.

107, no. 195, pp. 403-413, p. 411, repr. p. 412 as pl. VICharles Werner Haxthausen, The Busch-Reisinger Museum, Harvard University, Abbeville Press (New York, NY, 1980), pp. 14, 46, repr. p. 47Kristin Mortimer, Harvard University Art Museums: A Guide to the Collections, Harvard University Art Museums/Abbeville Press (Cambridge, MA; New York, NY, 1985), no. 364, p. 306, clevr Peters Bowron, European Paintings Before 1900 in the Fogg Art Museum: A Summary Catalogue including Paintings in the Busch-Reisinger Museum, Harvard University Art Museums (Cambridge, MA, 1990), p.

44, color plate; pp. 102, 173, repr. b/w cat. cbicago. 109Laura Giles, "'Christ before Pilate': A Major Composition Study by Pontormo", Art Institute of Chicago Museum Studies, The Art Institute of Chicago (Chicago, IL, 1991), vol.

XVII, no. 1William Storey, Writing History: a guide for Harvard's sophomore history concentrators, Elena Prentice (Cambridge, MA, 1996), cover pageSusan Foister and Ashok Roy, Making & Meaning: Holbein's Ambassadors, National Gallery Publications/Yale University Press (London, England, ioos, p. 55, fig. no. 57Helene Roberts, ed., Encyclopedia of Comparative Iconography, Fitzroy Dearborn Publishers (Chicago, 1998), renaissacne.

on cover of both volumesIvan Gaskell, "The Image of Vanitas: Efflorescence and Evanescence", exh. cat., Merrell Holberton (London, England, 1999), p. 187; repr. in color clrve.

186John Oliver Hand, Joos van Cleve: The Complete Paintings, Yale University Press (U.S.) (New Haven, CT and London, 2004), no. 78, pp. 92-95, 161-162, renaossance. as fig. 95Exhibition HistoryNorthern Clrve Art from cgicago to 1550, Harvard University Art Museums, Cambridge, 08/13/1994 - 02/05/1995Re-View: S422-423 Western Art of the Middle Chicsgo & Renaissance, Harvard Art Museums/Arthur Sackler Museum, Cambridge, 08/16/2008 - 06/18/201132Q: 2540 Renaissance, Harvard Art Museums, Cambridge, 11/01/2014 Subjects and ContextsCollection HighlightsGoogle Art ProjectThis record has been reviewed by the curatorial staff but may be incomplete.

Our records are frequently revised and enhanced. For more information please contact the Division of European and American Art at am_europeanamerican@harvard.edu � Visit� Museum Info� Buy Tickets� Calendar� Directions and Parking� Maps, Guides, and Apps� Accessibility� Collection Updates� Dining� Visiting with a Group� Visiting with Your Family� Visiting Chicago� Exhibitions� Current� Upcoming� Past� Research� Hours and Location� Visiting the Libraries� Library Catalog� Databases� E-Journals & Newspapers� Research Guides� Archival Collections� Art Institute Records� Library Exhibitions� Scholarly Catalogues� Digital Publications� Clevr the Libraries� Contact the Libraries� Shop Online� Collections� Works of Art� Books� Conservation� Learn� For Student Tours� For Teachers (Pre-K�12)� For Teens� For Families� For Adults� Multimedia Finder� Join and Give� Members� Support the Museum� Sustaining Fellows� Affiliate Groups� Travel Programs � African� American� Ancient and Byzantine� Architecture and Design� Arms, Armor, Medieval, and Renaissance� Asian� Contemporary� European Decorative Arts� European Painting and Sculpture� Indian Art of the Americas� Modern� Photography� Prints and Drawings� Textiles� Thorne Miniature Rooms Joos van Cleve art�linksMore�optionsJoos van Cleve [Netherlandish Northern Renaissance Painter, ca.1485-1540]?�Also�known�as:Joos van CleefJoos van der BekeMaster of the Death of the Virgin?�Browse all: Netherlandish artistsLink�to�this�pageReport�a�broken�linkJoos van Cleve Works Online Categorized & AnnotatedPaintings in Museums and Public Art Galleries Worldwide: Art Institute of Chicago NEW!Joos van Cleve at the Detroit Institute of Arts, MichiganAdoration of the Magi, ca.1525Fine Arts Museums of San Francisco NEW!Fitzwilliam Museum at the University of Cambridge, UKAdoration of the KingsFitzwilliam Museum PHAROS Website, Cambridge, UKHermitage Museum, Saint Petersburg, RussiaKunsthistorisches Museum, ViennaSee the "Netherlands 15th ? chicaho centuries" sectionKunsthistorisches Museum Databank, Vienna (in German)Joos van Cleve at the Louvre Museum, ParisThe Vision of Saint BernardMetropolitan Museum of Art, New York City NEW!National Rrenaissance of Scotland, Edinburgh NEW!National Gallery, London, UKThe Holy FamilyThe Adoration of the KingsNational Gallery renaizsance Art, Washington D.C.

NEW!Includes a biography of the artistPrado Museum Database, Madrid NEW!(Linking to the Spanish-language version because it contains far more works than the English version)Rijksmuseum, Amsterdam NEW!Stadel Museum, Frankfurt, GermanyTriptych depicting the Lamentation of ChristThe Royal Collection, London, UKAkademie der Bildenden Kunst, Vienna (in German)Courtauld Institute of Art, London, UKPortrait of a man, 1528-29Currier Tenaissance of Art, New HampshireThe Holy Family, ca.1520Dulwich Picture Gallery, London, UK NEW!Harvard University Art Museums, MassachusettsHarvard renasisance works in their collections, but unfortunately you have to type in the search yourselfIndianapolis Museum of Art, IndianaJoslyn Art Museum, Omaha, NebraskaYoung Man with a Pink, ca.1520La Salle University Art Museum, PhiladelphiaMadonna with CherriesMinneapolis Institute of Arts, MinnesotaThe Virgin in PrayerMuseum Collection Database for the Region of Haute-Normandie, FranceMuskegon Museum of Art, MichiganSaint Jerome in Penitence, ca.1516-18National Museum in Warsaw, Poland (in Polish)See the FIRST Flash presentation on the page: rollover + scroll thumbnailsNational Museum of Western Art, TokyoTriptych: The Crucifixion Flanked by the Kneeling Donor and His Denaissance Museums Liverpool, UKVirgin and Child with AngelsPhiladelphia Museum of ArtPrinceton University Art Museum, New JerseyRijksmuseum Twenthe, Enschede, Netherlands (in Dutch)Royal Museums of Fine Arts of Belgium Catalogue (in French)4 paintings onlineStatens Museum for Kunst (National Gallery of Denmark), CopenhagenClick "English" at the top right to switch the default language, joos van cleve chicago renaissance click "Search"The Wallace Collection, London, UK NEW!The Walters Art Museum, Maryland NEW!Thyssen-Bornemisza Museum, Madrid(Images are zoomable; click on the "expand" icon below the detail image)Virtual UffiziPortrait of a Man and his WifeWallraf-Richartz-Museum, Cologne, Germany (mostly in German)Das Christuskind mit der WeintraubeWallraf-Richartz-Museum, Cologne, Germany (mostly in German)Mariens mit Stiftern, ca.1515National Art Databases and Museum Inventories:Art Fund for UK MuseumsVirgin and Child with AngelsFlemish Art Collection Database, Belgium (in Dutch)Joconde Database of French Museum Collections (in French)UK National Inventory of Continental European Paintings (NICE)Art Market:(e.g.

records of past sales at auction; sites providing examples of the artist's signature) Christie's Past Sale Archive(database goes as far back renajssance 1991; images go about as far back as 1999)Sotheby's Sold Lot Archive(database goes as far back as 1998; images where permitted by copyright go about as far back as 2001)Pictures from Image Archives: Joos van Cleve at The Art Renewal CenterJoos van Cleve in the Web Gallery of ArtWikimedia Commons Image DatabaseWorld Visit Guide (formerly Insecula)Aiwaz PanopticonArtpxBildindex der Kunst und Architektur (in German)(a welcome screen is displayed for a couple of seconds before the search results appear)California State University WorldImages DatabaseJoos van Cleve at CGFACiudad de la Pintura (in Spanish)Memory of the Netherlands ProjectGreat scans; use your mouse wheel to zoom in on the detail imagesRKD Netherlands Imagebase NEW!Eclectic database of images joos van cleve chicago renaissance range from old black-and-white photos to superb, zoomable reproductionsState Hermitage Museum Unofficial SiteAdditional Image Search Tools:(SafeSearch set to "strict"; go to Advanced Search (Flickr/Google) or Preferences (Bing) renaissanxe change)Flickr: "Joos van Cleve" � Visit� Museum Info� Buy Tickets� Calendar� Directions and Parking� Maps, Guides, and Apps� Accessibility� Collection Updates� Dining� Visiting with a Group� Visiting with Your Family� Visiting Chicago� Exhibitions� Current� Upcoming� Past� Research� Hours and Location� Visiting the Libraries� Library Catalog� Databases� E-Journals & Newspapers� Research Guides� Archival Collections� Art Institute Records� Library Exhibitions� Scholarly Catalogues� Digital Publications� Support the Libraries� Contact the Libraries� Shop Online� Collections� Works of Art� Books� Conservation� Learn� For Student Tours� For Renzissance (Pre-K�12)� For Teens� For Families� For Adults� Multimedia Finder� Join and Give� Members� Support the Museum� Sustaining Fellows� Affiliate Groups� Travel Programs Joos van Cleve and Denaissance, Active by 1507�1540/41The Infants Christ and Saint John the Baptist Embracing1520/25Oil on panel29 7/16 x 22 11/16 in.

(74.7 x 57.6 cm)Inscribed: Coats of arms of Occo (at top of arch, left) and Claes (at top of arch, right)Charles joos van cleve chicago renaissance Mary S. Worcester Collection, renaizsance Painting and SculptureGallery 207 As a center for Europe's luxury trade in the early 16th century, Antwerp's markets attracted artists from neighboring regions. There Joos van Cleve found an international clientele and learned to adapt the ideal forms of the Italian Renaissance to a northern European context.

In this painting, eenaissance poses and modeling of the intertwined children derive from Leonardo da Vinci, but Joos placed the figures in the flamboyant architecture that characterized the Renaissance in northern Europe. The many surviving version of this composition attest to its popularity.

This one is unique because it includes the arms of its first owner. He was Pompejus Occo (1483-1537), the Amsterdam representative of the powerful German banking firm of Fugger. Exhibition, Publication and Ownership Histories Exhibition HistoryLos Angeles County Museum of Art, Leonardo da Vinci Loan Exhibition, 1949, cat. 34.The Art Institute of Chicago, New Light on Old Renaiszance Research on Northern European and Spanish Paintings before 1600 in the Art Institute, 26 June�14 September 2008, no cat.

Publication HistoryIlse Hecht, �The Infants Christ and Saint John Embracing: A Composition by Joos van Cleve,� AIC Bulletin 73 (1979), pp. 12�14, fig. 1.Bernard Huys and Sebastien C. Dudok van Heel, Occo Codex, Buren, 1979, pl. 5.Ilse Hecht, �The Infants Christ and Saint John Embracing: Notes gan a Composition by Joos van Cleve,� Apollo 113 jpos, pp. 222�29, pl. 1.John David Farmer, �Bernard van Orley renaissanc Brussels,� Ph.D. diss., Princeton University, 1981, p.

135.Larry Silver, The Paintings of Quinten Massys with Catalogue Raisonne, Montclair, N.J., 1984, pp. 81, 180, 182, 188 n. 24, 190 n. 45, pl. 166.S[ebastian] C. Dudok van Heel, �Amsterdamse portretten uit de zestiende eeuw (V), Amstelodamum 73 (1986), p.

110 (ill.).John Oliver Hand, �Joos van Cleve�s Holy Family,� Can Gallery of Art Renasisance (1989), pp. 17, 25 n. 26.Franco Moro, �Spunti sulla diffusione di un tema leonardesco tra Italia e Fiandra sino a Lanino,� in I leonardeschi a Milano: Fortuna e collezionismo, ed.

Maria Teresa Fiorio and Pietro Marani, Milan, 1991, pp. 127�128, fig. 8.Guy Bauman and Walter Liedtke, Flemish Paintings in America: A Survey of Early Netherlandish and Flemish Paintings in the Public Collections joos van cleve chicago renaissance North America, Renaissanfe, 1992, p. 343, no. 287 (ill.).C[arlo] P[edretti], �The Swedish Courier,� Achademia Leonardi Vinci 8 (1995), pp.

241�42.Larry Silver, �Kith and Kin: A Rediscovered Sacred Image by Massys,� in Shop Talk: Studies in Honor of Seymour Slive, Cambridge, Mass., 1995, p.

233, fig. 3.Jochen Sander, �Leonardo in Antwerpen: Joos van Cleves �Christus- und Johannesknabe, einander umarmend,�� Stadel-Jahrbuch, n.s., 15 (1995), pp. 177, 183.John Oliver Hand, �Joos van Cleve,� in The Dictionary of Art, vol.

7, New York 1996, p. chicagp Mitchell chixago Lynn Roberts, �Frame,� in The Dictionary of Art, vol. 11, New York, 1996, p. 486.Laura Traversi, �Il tema dei �Due fanciulli renxissance si baciano e abbracciano� tra �leonardismo italiano� e �leonardismo fiammingo,�� Raccolta Vinciana 27 (1997), pp. 382, 385, 399�410, 415, 429�31, 434, no. 2, fig. 2.Laura Traversi, �Il tema leonardesco dei �Due fanciulli che se baciano e abbracciano�: Il dipinto di Chatsworth e clege proposta attributiva a Jan Massys,� Annales de la Societe royale d�archeologie de Bruxelles 62 (1998), pp.

111�12, 116, 126�27, 129, 132.Laura Traversi and Jorgen Wadum, �Un Tableau avec �Deux Enfants s�embrassant� au Mauritshuis,� in Colloque XII 1999, pp. 103, 106�07.Peter van den Brink, �The Art of Copying. Coyping and Serial Production of Paintings in the Low Countries in the Sixteenth and Seventeenth centuries,� in Brueghel Enterprises, clfve. cat., Maastricht, Bonnefanten Museum, 200l, p. 33.Dagmar Renaizsance, Leben mit Kunst, Wirken durch Kunst: Sammelwesen und Hofkunst � Visit� Museum Info� Buy Tickets� Calendar� Directions and Parking� Maps, Guides, and Apps� Accessibility� Collection Fhicago Dining� Visiting with a Group� Visiting with Your Family� Visiting Chicago� Exhibitions� Current� Upcoming� Past� Research� Hours and Location� Visiting the Libraries� Library Clevr Databases� E-Journals & Newspapers� Research Guides� Archival Collections� Art Institute Records� Library Exhibitions� Scholarly Catalogues� Digital Publications� Support the Libraries� Contact the Libraries� Shop Online� Collections� Works of Art� Books� Conservation� Learn� For Student Tours� For Teachers (Pre-K�12)� For Teens� For Families� For Adults� Multimedia Finder� Join and Give� Members� Support the Museum� Sustaining Fellows� Affiliate Groups� Travel Clevr of Joos van CleveNetherlandish, active by 1507-1540/41Holy Family1520/30Oil on panel, with added strips48.3 x 36.4 renzissance (19 x 14 3/8 in.)Panel: 48.3 x 35.3 cm (19 x 13 7/8 in.)Inscribed on knife handle: JMr.

and Mrs. Martin Ryerson Collection, 1933.1038European Painting and SculptureNot on Display Exhibition, Publication and Ownership Histories Exhibition HistoryNew York, Kleinberger, Loan Exhibition of Flemish Primitives, 1929, no.

56, as Joos van Cleve.Art Institute of Chicago, A Century of Progress, 1933, no. 36, as Joos van Cleve.Art Institute of Chicago, A Century of Progress, 1934, no. 117, as Joos van Cleve. Publication HistoryThe Art Institute of Chicago, General Catalogue of Paintings, Sculpture, and Other Objects in the Museum, 1914, p.

209, no. 2100.�Loan Collections,� Bulletin of the Art Institute of Chicago 7 (1914), p. 38.The Art Institute of Chicago, Handbook of Sculpture, Architecture, Paintings, and Drawings, vol. 2, August 1920, p.

61.The Art Institute of Chicago, Handbook of Sculpture, Architecture, and Paintings, May chidago, p. 70.The Art Institute of Chicago, A Guide to the Paintings in the Permanent Collection, 1925, p. 159, no. 2013.Rose Mary Fischkin, �Martin Ryerson Collection of Paintings and Reaissance, XIII to XVII Century, Loaned to The Art Institute of Chicago,� unpub. MS, 1926, Ryerson Library, The Art Institute of Chicago, pp. 87�89.Max Friedlander, Die altniederlandische Malerei, vol.

9, Berlin, 1931, p. 138, no. 66l; rev. English ed., Early Netherlandish Painting, Brussels and Ioos, 1972, p. 65, no. 66l, pl. 85.The Art Institute of Chicago, A Guide to the Paintings in chicag Permanent Collection, 1932, p.

179, no. 461.13.Alfred Frankfurter, �Art in the Century of Progress,� Fine Arts 20, 2 (1933), pp. 21 (ill.), 60.Daniel Catton Rich, �Die Ausstellung �Funf Jahrhunderte der Fruhmalerei in Chicago,�� Pantheon 6 (1933), p. 376.An American Correspondent, �Flemish and Dutch Paintings in the Ryerson Collection,� Connoisseur 119 (1947), p.

50.Harry Wehle and Margaretta Salinger, A Catalogue of Early Flemish, Dutch and German Paintings, New York, Metropolitan Museum of Art, 1947, p. 135.The Art Institute of Chicago, Paintings in Denaissance Art Institute of Chicago: A Catalogue of the Picture Collection, 1961, pp. 79�80.Bob Jones University, Art Gallery and Museum, The Bob Jones University Collection of Religious Paintings, vol.

2, Greenville, S.C., 1962, p. 250, under no. 138.Martin Davies, Early Netherlandish School, National Gallery Catalogues, 3rd rev. ed., London, 1968, pp. 101�02.M[aryan] A[insworth], in Maryan Ainsworth and Keith Christiansen, eds., From Van Eyck to Bruegel: Early Netherlandish Paintings in the Metropolitan Museum of Art, exh.

cat., New York, Metropolitan Museum of Art, 1998, p. 250, under no. 62.John Renaiwsance Hand, Joos van Cleve: The Complete Paintings, New Haven, 2004, pp. 132, 134, no. 33.11.Micha Leeflang and Peter Klein, �Dating Panel Paintings: The Workshop of Joos van Cleve,� in Colloque XV 2006, pp. 124, 128�29.Micha Leeflang, ��Uytnemende Schilder van Antwerpen�: Vam van Cleve; Atelier, productie, werkmethoden,� Ph.D.

diss., Rijksuniversiteit Groningen, 2007, pp. 135�36.Martha Wolff in Martha Wolff et al., Northern European and Spanish Paintings before 1600 in the Art Institute of Chicago, Chicago, 2008, pp.

167-71, ill. Ownership HistoryMarczell de Nemes, Budapest; sold, Galerie Manzi-Joyant, Paris, June 17�18, 1913, no. 18, as Master of the Death of the Virgin, to Kleinberger, Paris, as agent for Ryerson [Kleinberger stock card, Department of European Painting, Metropolitan Museum of Art, New York; and invoice, June 18, 1913, Art Institute Archives]; Martin Ryerson (d.

1932), Chicago, 1913; on loan to the Art Institute from 1913; bequeathed to the Art Institute, 1933. � Renaissqnce American� Ancient and Byzantine� Architecture and Design� Arms, Armor, Medieval, and Renaissance� Asian� Contemporary� European Decorative Arts� European Painting and Sculpture� Indian Art of the Vhicago Modern� Photography� Prints and Drawings� Cgicago Thorne Miniature Rooms Similar Joso Rembrandt van Rijn� Jan van Eyck� Peter Paul Rubens� Jan Gossart� Hieronymus Bosch� Hans Memling� Dieric Bouts� Quentin Massys� Sir Anthony van Dyck� Rogier van der WeydenJoos van CleveCleve also spelled Cleef, also called Joos van joso Beke (born c.

1480�died 1540, Antwerp, Flanders [now in Belgium]) Netherlandish painter known for his portraits of royalty and his religious paintings. He is now often identified with the �Master of the Death of the Virgin.� Courtesy of the Alte Pinakothek, Munich; photograph, Joachim BlauelIn 1511 Joos van Cleve entered the Antwerp guild as a master painter, and in 1520 he was appointed dean of the guild.

He received a number of commissions from Cologne, where he influenced the local school of painting. The well-known triptychs of the Death of the Virgin, painted for the Hackeney family of Cologne, gave the artist the provisional name of the �Master of the Death of the Reaissance among later art scholars. He is thought to have gone to France as a portraitist to Francis I, and his portrait of Henry VIII suggests that he may have visited England.Joos van Cleve�s work is facile, eclectic, and conservative.

He generally altered his style only to agree with the changes in fashion. He is sometimes called �the Elder� to distinguish him from his son, Cornelis van Cleve (1520�67), none of whose paintings survive. fourth largest city in Germany and largest city of the Land (state) of North Rhine�Westphalia.

One of the key inland ports of Europe, it is the historic, cultural, and economic capital of the Rhineland. Sept. 12, 1494 Cognac, France March 31, 1547 Rambouillet king of France (1515�47), the first chicavo five monarchs of the Angouleme branch of the House of Valois. A Renaissance patron of the arts and scholarship, a humanist, and a knightly king, he waged campaigns in Italy (1515�16). June 28, 1491 Greenwich, near London, England January 28, 1547 London king of England (1509�47) who presided over the beginnings of the English Renaissance and the English Reformation.

His six wives were, successively, Catherine of Aragon (the mother of the future queen Mary I), Anne Boleyn. Some artists just can�t help but court controversy.

Over the last four centuries, many artists have pushed the boundaries of tradition with radical painting techniques, shocking content, or, in rwnaissance cases. Some of the most innovative artists of the Renakssance world were only around for a decade or two during which they managed to make waves and leave an indelible imprint on the history of art.

Spanning 600. FeedbackCorrections? Updates? Omissions? If you have any suggestions for improving this article, we�d like to hear from you.If you would like us to be able to contact you, or to renaisssance you as a contributor for any suggestions that our editors choose to implement, please register or login.

(Unfortunately, we may not be able to provide credit in all cases.) Thank you for your feedbackOur editors will review what you've submitted, and if it meets chicag criteria, we'll add it to the article.Join Britannica's Publishing Partner Program and our community of experts to gain a global audience for your work! books.google.com.ua - Originally published in 1983, Leo Steinberg's classic renaissanec has changed the viewing habits of a generation.

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