Frans van Mieris the Elder [1]

Nationality : Dutch Golden Age genre and portrait painter, 1635-1681

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  • Title : A Meal of Oysters
  • Info : Picture ID 35775-A_Meal_of_Oysters.jpg

Oil Painting ID: 35775


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  • Title : Brothel Scene
  • Info : Picture ID 35776-Brothel_Scene.jpg

Oil Painting ID: 35776


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  • Title : Carousing Couple
  • Info : Picture ID 35777-Carousing_Couple.jpg

Oil Painting ID: 35777


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  • Title : Duet
  • Info : Picture ID 35778-Duet.jpg

Oil Painting ID: 35778


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  • Title : Interior with Figures Playing Tric trac
  • Info : Picture ID 35779-Interior_with_Figures_Playing_Tric_trac.jpg

Oil Painting ID: 35779


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  • Title : Pictura An Allegory of Painting
  • Info : Picture ID 35780-Pictura_An_Allegory_of_Painting.jpg

Oil Painting ID: 35780


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  • Title : self portrait
  • Info : Picture ID 35781-self portrait.jpg

Oil Painting ID: 35781


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  • Title : The Death Of Lucretia
  • Info : Picture ID 35782-The Death Of Lucretia.jpg

Oil Painting ID: 35782


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  • Title : The Doctors Visit
  • Info : Picture ID 35783-The_Doctors_Visit.jpg

Oil Painting ID: 35783


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  • Title : The Lacemaker
  • Info : Picture ID 35784-The_Lacemaker.jpg

Oil Painting ID: 35784


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Frans van Mieris the Elder
Frans van Mieris, the elder (April 16, 1635, Leiden - March 12, 1681, Leiden), was a Dutch Golden Age genre and portrait painter. The leading member of a Leiden family of painters, his sons Jan (1660-1690) and Willem (1662–1747) and his grandson Frans van Mieris the Younger (1689–1763) were also accomplished genre painters. Frans was the son of Jan Bastiaans van Mieris, a goldsmith, carver of rubies and diamond setter at Leiden. His father wished to train him to his own business, but Frans preferred drawing, and studied with Jacob Toorenvliet's father, Abraham Toorenvliet, a glazier who kept a school of design. From his own father's shop he became familiar with the ways and dress of people of distinction. His eye was fascinated in turn by the sheen of jewelry and stained glass; and, though he soon left Toorenvliet for the workshops of Gerard Dou and Abraham van den Tempel, he acquired the Leiden fijnschilder manner over the Amsterdam finish of the disciples of Rembrandt. It should be borne in mind that he seldom chose panels of which the size exceeded 12 to 15 inches, and whenever his name is attached to a picture above that size we may surely assign it to his son Willem or to some other imitator. Unlike Dou when he first left Rembrandt, or Jan Steen when he started on an independent career, Mieris never ventured to design figures as large as life. Characteristic of his art in its minute proportions is a shiny brightness and metallic polish.

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