David Teniers The Younger Belgium

12-15-1610 Antwerp, BEL – 4-25-1690 Brussels, BEL

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Teniers The Younger, David

Admitted as a "master" in the Guild of St Luke in 1632, David Teniers the Younger had even before this made the public acquainted with his works.

David Teniers the Younger was little over thirty when the Antwerp guild of St. George enabled him to paint the picture which ultimately found its way to the Hermitage in St. Petersburg the Meeting of the Civic Guards. Correct to the minutest detail, yet striking in effect, the scene, under the rays of glorious sunshine, displays an astonishing amount of acquired knowledge and natural good taste.

David Teniers the Younger was chosen by the common council of Antwerp to preside over the Guild of Saint Luke in 1644. The Archduke Leopold Wilhelm, who had assumed the government of the Spanish Netherlands employed Teniers as a painter and as keeper of his growing collection of pictures.

When Leopold Wilhelm returned to Vienna, Teniers' appointment ended. The picture gallery of Leopold Wilhelm's was moved to Austria, and a Flemish priest, who was also a first-rate flower painter, Jan Anton van der Baren, became keeper of the archducal gallery in Vienna.

In a petition to the king he reminded him that the honour of knighthood had been bestowed upon Rubens and van Dyck. The king at last declared his readiness to grant the request, but on the express condition that Teniers should give up selling his pictures. The condition was not complied with; but it may perhaps account for his interest in founding an academy in Antwerp strictly limited to painters and sculptors. There were great rejoicings in Antwerp when, on 26 January 1663, Teniers came from Brussels with the royal charter creating the Antwerp Royal Academy of Fine Arts, the existence of which was due entirely to his personal initiative.

Two thousand paintings are thought to have been painted by David Teniers the Younger. Few artists ever worked with greater ease, and some of his smaller pictures, landscapes with figures, have been termed "afternoons", not from their subjects, but from the time spent in producing them.

The Prodigal Son, now in the Louvre, fetched 30,000 livres ($4500) in 1776. The Belgian government gave $8000 in 1867 for the Village Pastoral of 1652, which is now in the Brussels Museum; and a picture of the Prodigal Son, scarcely 16 by 28 inches, fetched $8500 in 1876.

Influences: Adriaen Brouwer, Paul Rubens
Traveled: England, Netherlands
Influenced: van Tilborgh
From Wikipedia

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