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247:. With the rediscovery of the artist, works have been re-attributed to Pieter Thijs. As the styles of Thomas Willeboirts Bosschaert and Thijs are very close, there are still disagreements about the attributions of some works to either artist. The main distinguishing features between the styles of the two artists is that Willeboirts Bosschaerts' work uses a looser brushwork and displays a distinctive humanity and sensuality in the figures, especially the female figures. Thijs, on the other hand, applied the paint more tightly and thickly, and his figures express their emotions with more decorum and contained theatricality.
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293:(c. 1661, Auctioned at Sotheby's on 7 July 2005, London, lot 10). Its composition recalls van Dyck's large family-group portraits painted in his late English period, which Thijs would have seen when he was a pupil of van Dyck. The figures in the group portrait also closely adhere to the van Dyckian type, especially the two children.
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After leaving Coques' workshop Thijs started out on a career that was successful despite the prevailing dire economic situation in
Antwerp. He maintained a busy workshop that employed about twenty apprentices in the course of his career. In the 1660s he had enough work to keep six assistants busy. He
139:. Through the international business connections of his father-in-law who ran a large import-export business in Antwerp with offices in the major ports and cities of Europe, he was able to sell his paintings to an international clientele and get commissions for altarpieces in
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Thijs married
Constantia van der Beken on 19 March 1648. The couple had six daughters and four sons. His son Pieter Pauwel Thijs (1652-1679) followed in his footsteps as an artist but died young. After the death of his first wife he married Anna Bruydegom on 2 July 1670.
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Pieter Thijs produced allegorical and mythological compositions for the courts of the
Southern Netherlands and the Dutch Republic as well as the local churches and monasteries. He was also in demand as a portrait painter by the court and the local bourgeoisie.
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His history paintings also show the influence of French classicism, which was then coming into fashion. In these works he paid particular attention to prettiness and a polished finishing. He also borrowed from the
Italian masters of the Cinquecento, such as
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In the past his reputation suffered because of misattributions of his work. As his style was close to that of van Dyck and the followers of van Dyck, Thijs works have often been attributed to van Dyck and artists working in the van
Dyckian idiom such as
95:, a leading painter of portraits and history paintings who was known by the nickname 'de kleine van Dyck' ('the little van Dyck'). Thijs continued working in Coques' workshop for more than three years after becoming a master of the Antwerp
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In this mature period from the 1660s onwards, Pieter Thijs usually relied on pyramidal, symmetrical compositions and he painted his female figures draped in tunics tied at the waist and wearing garments with folds in V-form.
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His portraits followed the style of van Dyck in the eloquence of the hands and the meticulous execution of the reflections on the shimmering fabric. Though a popular portrait painter, the early
Flemish biographer
394:. These paintings typically show a flower garland around a devotional image or portrait. Garland paintings were usually collaborations between a still life and a figure painter. An example is the composition
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The influence of van Dyck on Thijs' style is due to his direct working relationship with van Dyck. Other possible influences are the works of slightly senior painters such as Thomas
Willeboirts Bosschaert and
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who were both early followers of van Dyck as well as Thijs' predecessors at the courts of
Brussels and The Hague. The patrons at these courts showed a preference for van Dyck's refined courtly style.
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Thijs played a major role in
Antwerp's cultural life. He served as deacon and treasurer of the Antwerp Guild of Saint Luke and was the driving force behind the further development of the
50:. He was a very successful artist who worked for the courts in Brussels and The Hague as well as for many religious institutions. His work was close to the courtly and elegant style of
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He showed himself to be an eclectic painter who did not strive for originality but adapted and borrowed from the styles of other artists where he felt the commission demanded it.
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Thijs collaborated with flower painters on so-called 'garland paintings'. Garland paintings are a type of still life invented in
Antwerp and whose earliest practitioner was
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As was common in 17th-century Antwerp, he often collaborated with other artists who were specialist painters. He added the figures to the compositions of various Antwerp
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Pieter Thijs was in demand as a portrait painter. He gained in particular a reputation for large family portraits, a genre made popular by his teacher Anthony van Dyck.
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Sanzsalazar, J. (2009). Una nueva pintura de Peter Thijs identificada en la Colegiata de Santa Gertrudis de Nivelles (Valonia).Archivo Español de Arte, 82(325): 79-86
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Summary of the doctoral thesis of Danielle Maufort, 'Le peintre anversois Pieter Thijs (1624-1677) : l'un des derniers élèves d'Antoine van Dyck']
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Thomas P. Campbell, Pascal-François Bertrand, Jeri Bapasola, 'Tapestry in the Baroque: Threads of Splendor', Metropolitan Museum of Art, 1 January 2007
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that Thijs learned portrait and history painting and started copying the great masters. He is considered to be van Dyck's last pupil.
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Pieter Thijs was born in a modest family as the son of a baker. Thijs had three masters. He trained with Artus Deurwerdeers as a
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Portrait of Philips van de Werve and His Wife (Nee Charles), seated with their children, attended by a groom with a horse
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Review of Susan Merriam, Seventeenth-Century Flemish Garland Paintings. Still Life, Vision and the Devotional Image
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Thijs enjoyed royal patronage. From 1647 onwards, he became a portrait painter as well as a tapestry designer for
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Van Dycks (Pictura Nova, 9). 2 vols. Turnhout: Brepols Publishers, 2003. 640 pp, 180 b&w illus., 1 color plate
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Hans Vlieghe, "Thijs, Pieter." Grove Art Online. Oxford Art Online. Oxford University Press. Web. 18 January 2016
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follow the composition and palette of Rubens who had produced some influential paintings on this theme.
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His religious works were also influenced by the style of van Dyck. His paintings on the subject of the
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Review of Axel Heinrich, Thomas Willeboirts Bosschaert (1613/14- 1654). Ein flämischer Nachfolger
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400:(Auctioned at Sotheby's, London on 5 December 2006, lot nr 412) in which the portrait of
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Thijs trained his son Pieter Pauwel and was the teacher of Jan Fransicus Lauwereyssens.
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Variations in spelling of name: Peter Thijs the Elder, Petrus Thijs, Peter Thys
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stated that his likenesses were criticized for not being like their subjects.
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and woven by the Brussels tapestry workshops. Some of the cartoons such as
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for two series of tapestries for Archduke Leopold Wilhelm, with the titles
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Portrait of an almoner with his wife and children as an allegory of charity
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was painted by Thijs and the flower garland is by an unknown hand.
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Pieter Thijs and Pieter Boel (Flemish, 1624 –1677 and 1622 - 1674)
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of the Guild. He was able to persuade the local playwright
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in 1644–45. Thanks to the presence of the collection of
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113:altarpieces
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