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362:(citizen) of the city of Brussels and as a member of the local Guild of Saint Luke. Brussels was at the time the administrative capital of the Low Countries where the court of Mary of Hungary was established. He operated a large workshop in Brussels. His financial success was such that by 1550 he owned two houses in Brussels. He became gradually sought after as a designer of cartoons for tapestries, first by the Habsburg rulers but later also by the local industry. This is not surprising because at that time Brussels was the world center for the production of tapestries, then an important economic factor in the entire Netherlands. He was given the title of cartoon painter of the city of Brussels for which he received an annual salary. Several of Coxcie's tapestry designs have been documented, but none have survived. Some cartoons and series of tapestries have been attributed to him, based on stylistic rather than archival grounds. He participated in the '
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664:. It is a monumental triptych showing at the centre the Virgin Mary with her mother Anna, Christ and John the Baptist. The scene is set in an overwhelming Renaissance architecture with many figures. With this work Coxie showed that he had mastered the Italian style, while not abandoning his roots. The painting has many Italian characteristics. The figure of the Virgin, for instance, goes back directly to Da Vinci. The architectural columns, drapes and niches were inspired by Raphael. Flemish elements in the work are the attention to detail and the rich colour which evoke the work of
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These designs had been brought to
Brussels. He had responded to Raphael's work by making the figures in his altarpieces more monumental and heroic. He also included classical architecture in his compositions. During his stay in Rome, Coxie was able to directly study the works of Raphael, Michelangelo and other Renaissance painters as well as study the works of Antiquity that were being rediscovered at the time. He also read classical literature and philosophy and was aware of the intellectual discussions on the reception of Antique art in Italy. The panel
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498:, governor of the Habsburg Netherlands between 1567 and 1573. The Beeldenstorm caused the loss of a large portion of Coxcie's existing works. This era of religious turmoil saw the painter facing many other setbacks. His son Willem who had travelled to Rome in 1567 to study art was arrested in Italy on suspicion of heresy as he had travelled with a group of Dutch and German Protestants. He was convicted to the
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operated a large workshop which ensured a large output which contributed to his lifetime reputation and influence. After his death his work soon fell into oblivion as it was overtaken quickly by the triumphant
Baroque style introduced into Flanders by Rubens, another Flemish artist who had studied and worked for an extended time in Italy.
319:, is a monumental triptych showing at the centre the Virgin Mary with her mother Anna, Christ and John the Baptist. The scene is set in an overwhelming Renaissance architecture with many figures. With this work Coxie offered the general public in Flanders its first confrontation with the monumental, grand style of the High Renaissance.
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of then crown prince Philip II in
Brussels in 1549 and a series of portraits of the Habsburg rulers. When in 1555 king Charles V stepped down from the throne in favor of his son Philip II, the new ruler maintained the royal support for Coxie. Philip tasked Coxie with making a true-to-life copy of the
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Coxie was a prolific artist, who painted altarpieces and portraits and produced designs for stained-glass windows, tapestries and prints. He was skilled in the traditional
Flemish oil on panel technique as well as the Italian fresco technique. His career spanned almost the entire 16th century. He
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had just died. He completed an altarpiece in
Antwerp in 1575 and was registered in the Guild of Saint Luke of Antwerp in 1578. He remained in Antwerp during the period from 1580 to 1585 when the city was governed by a Calvinist government. He was even able as a Catholic to obtain commissions from
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His style is a unique synthesis of the
Flemish and Italian artistic traditions. His presumed master Bernard van Orley had possibly never studied in Italy but had certainly familiarised himself with the new pictorial vocabulary of the Italian Renaissance through his study of the designs of Raphael.
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who had travelled to Rome where they had assimilated the new
Renaissance currents which they translated upon their return home into a break with the Netherlandish painting traditions. It is not entirely clear how long he stayed in Liège. It may be that for a while he travelled between Mechelen and
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Upon his return to
Flanders, Coxie stayed in Mechelen and took on two pupils in his workshop. However, Mechelen had become a cultural wasteland while Antwerp offered attractive opportunities as many of the altarpieces which had been destroyed needed to be replaced and its leading history painters
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and a daughter Anna, may have been born in Liège although other sources place their births in
Mechelen. Raphael followed in his father's footsteps and became a successful painter. Another son called Willem was born in Mechelen in 1545 or 1546. Willem also became a painter but no existing works by
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of 1604 that Coxie trained with a "Bernard van
Brussel" (Bernard from Brussels). It is therefore reasonable to conclude that Coxie was a pupil of Bernard van Orley. Even so, due to the lack of contemporary documentary evidence and surviving youth works by Coxie it is not possible to confirm with
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for 10 years. After the king's chancellor de Granvelle, who was then living in Rome, interceded personally with the Pope the sentence was cut in half. A few years later king Philip II himself intervened leading to the liberation of Willem. This illustrates the extent of the support by powerful
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in Ghent, Coxie temporarily moved to Ghent to execute this commission. He resided there from 1557 to 1559. After completing his copy in 1559, he moved to Mechelen where he acquired a house on the Bruul by swopping it for one of his Brussels homes. He continued to live in this city and became a
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who may have been Bernard van Orley's patron in Rome assuming van Orley really took the trip to Rome as some sources have suggested. It has been speculated that this relationship with the Cardinal proves that van Orley recommended his pupil to his former patron. Michiel Coxie was also asked to
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and the return of Spanish Catholic control over the city in 1585, Coxie immediately gained commissions from patrons in Mechelen, including the city government. The continued appreciation of the Spanish king for the elderly artist was demonstrated when in 1589, he granted him an annuity. Coxie
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His wife died in 1569. Two months after her death he married Jeanne van Schelle (or van Schellen or van Schallen), with whom he had two more children of whom Michiel the Younger became a painter. The painter's whereabouts from the 1570s are not entirely clear. In October 1572 Spanish troops
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Also for King Philip, Coxcie painted St. Cecilia at the Virginal (1569). Now in the Prado, this is one of several related paintings of Cecilia by Coxcie and/or his workshop, showing the saint performing identifiable music by Coxcie's Flemish contemporaries Jacobus Clemens non Papa and Thomas
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caused many local painters to flee to Antwerp. Coxie was outside of the country, possibly in Spain, when the events happened. His house was plundered and some painters from Antwerp were able to buy back some tapestry designs which Spanish soldiers had looted from his home.
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but the frescoes that he created are lost due to later renovations to the interior of the church. During his stay in Italy he also provided designs for Italian engravers including for the series of 32 prints on the history of Amor and Psyche which was engraved by
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with the question about how art can properly depict reality and what art can tell us about that reality. Only the viewer of the painting can see the way out of the cave, and according to Plato, this search should be the object of all true philosophy. In
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No records survive about the early life and training of Michiel Coxie. His year of birth has been determined to be 1499 through deduction from later sources. The place of his birth also remains uncertain. It is generally assumed that he was born in
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in Brussels. This contains on the back of one of the side panels the only known portrait of Philip II painted by the artist. Shortly thereafter, he died after accidentally falling off a scaffold while working on the restoration of the
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as some of his contemporaries regarded him as being on an equal level as the Italian master. This also reflected his contemporaries' appreciation that his study of classical Antiquity and the art of Renaissance masters like
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of altarpieces and portraits, a draughtsman and a designer of stained-glass windows, tapestries and prints. He worked for patrons in the principal cities of Flanders. He became the court painter to successively Emperor
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during his 10-year residence in Italy had left an important mark on his style. His innovative style and bold compositions were in the centuries after his death an inspiration to Flemish artists including
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The first important work he realised upon his return to Flanders after his stay in Italy shows all the key characteristics of his style and the contribution he made to Flemish painting. The triptych of
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The master or masters from whom he received his artistic training are not documented. Most known facts and statements of later biographers point to a training in the workshop of the Brussels master
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about how art imitates nature and sometimes deviates from perfect imitation by changing the proportions in order for the viewer to get a true appreciation of the real object. Coxie deals in
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as this was the first place he appears to have returned to after his long-term residence in Italy. Some art historians have suggested that his place of birth was in the region around
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complete the commission for the stained glass windows of the Brussels cathedral of St Michael and St Gudula after Bernard van Orley died in 1541. The early Flemish artist biographer
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the local government, which was tolerant of Catholics. In 1585 he was registered as a tenant in the Kloosterstraat in Antwerp, while his house in Mechelen was rented out. After the
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428:). Guy Morillon, originally from Burgundy, was one of the most prominent notables of Leuven and a secretary to king Charles V. Coxie further designed the decorations for the
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Coxie travelled in 1539 back to his home country via Milan. While in Milan he made two designs for tapestries. He first settled in Mechelen where he registered in the local
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who had also lived and studied in Italy. Coxcie realized fresco paintings in the new castle. He also received the commission to paint a retabel for the rood screen of the
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which he likely painted during his stay in Rome is an attempt by Coxie to express these visual and philosophical influences. The painting references Plato's ideas (the
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The earliest documents attesting to Michiel Coxie's life and activities date to the period of his residence in Rome. The Florentine artist and artist's biographer
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bestowed favors on him and his family when he granted Michiel and his son Raphael dispensation from the compulsory billeting of Spanish soldiers at their homes.
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Upon his return to the Low Countries Coxie became a sought-after artist who gained many commissions. The first important one was the 1540 commission for
801:, Master paper submitted for degree of Master in Art Sciences, Promotor: Prof. Dr. Koenraad Jonckheere, University of Ghent, Academic year 2010-2011
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in Brussels, Coxie took over the commission and delivered four designs. Afterwards he was commissioned to design a cycle of stained glass for the
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Like many artists of his time, Coxie provided designs for the printers and engravers. An important graphic series by Coxi recounts the story of
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When Bernard van Orley died in 1541, while he was working on the designs for stained glass windows for the chapel of the Habsburg rulers in the
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262:, the principal city in the Prince-Bishopric of Liège. Liège was at that time an important artistic centre where important artists such as
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on 11 November 1539. He lived in Mechelen in a house on the Bruul, in the city centre. He married Ida van Hasselt, a native of the city of
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who knew Coxie personally recounts that Coxie made the design sketches. Another series of prints designed by Coxie tells the stories of
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Coxie borrows heavily from Michelangelo's models as well as from Antique models. For instance, the Roman Antique statue of
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Coxie stayed in Italy until the end of the 1530s executing many commissions. He was involved in the decoration of the new
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Name variations: Michiel de Coxcie (I), Michiel Coxcie (I), Michiel Coxcien, Michiel de Coxien, Michele Tedesco
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caused the destruction of many religious objects he is said to have attempted to defend Mechelen against the
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in: Archivo Español de Arte, Volume 81, 322, April–June 2008, Instituto Diego Velázquez, pp. 194-195
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continued painting even when he was over 90 years old.. His last work, dated 1592, was the
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and the governor of the Netherlands. Coxie also contributed to the new Habsburg castle in
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who was also the king's chancellor. Philip II of Spain commissioned two copies of
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Grove Art Online. Oxford Art Online. Oxford University Press. Web. 23 June 2020
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in Ghent. It is believed that around this time he succeeded van Orley as the
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knew Coxie personally. He recounts that Coxie was commissioned by Cardinal
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for three days after retaking the city from an army under the command of
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Koenraad Jonckheere, 'The life and times of Michiel Coxcie 1499-1592'
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Highly respected by his contemporaries, Coxie was given the nickname
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Saint Cecilia in the Renaissance: The Emergence of a Musical Icon,
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that he had made nine years earlier for the Antwerp City Council.
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99:. Coxie was also a copyist and produced a well-known copy of the
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El Tributo al César de Michiel Coxcie en el Museo de Pontevedra
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by the van Eyck brothers. As the altarpiece was located in the
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Koenraad Jonckheere, 'Michiel Coxcie and classical antiquity'
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figures which the artist enjoyed at that time. Even the
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certainty that Bernard van Orly was Coxie's master.
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Art & Magnificence. Tapestry in the Renaissance
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358:in Brussels. In 1543 Coxie was registered as a
915:Tapestry conservation: principles and practice
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769:Michiel Coxcie (1499-1592) - De vlaamse Rafaël
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854:, 2013, Harvey Miller Publishers, pp. 29-49
982:Chicago: University of Chicago Press, 2022
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912:Lennard, Frances; Hayward, Maria (2006).
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505:Duke of Alva
496:Duke of Alba
488:Beeldenstorm
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190:sack of Rome
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1096:1592 deaths
1091:1499 births
492:iconoclasts
1085:Categories
901:(in Dutch)
883:(in Dutch)
803:(in Dutch)
774:(in Dutch)
696:References
610:The Sofist
544:Willem Key
511:plundered
450:musketeers
272:Willem Key
400:Herodotus
276:Romanists
194:Charles V
62:and King
60:Charles V
44:Latinised
652:(now in
513:Mechelen
396:Cyrus II
386:and the
307:(now in
216:and the
127:Mechelen
95:and the
896:at the
878:at the
723:at the
580:General
567:in the
500:galleys
360:poorter
285:Raphael
254:in the
248:Hasselt
131:Hasselt
76:Raphael
55:painter
52:Flemish
949:
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676:Prints
382:, the
344:Binche
48:Coxius
372:Wawel
350:from
260:Liège
46:name
947:ISBN
920:ISBN
668:and
575:Work
542:and
352:Mons
270:and
115:Life
82:and
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334:to
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38:or
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Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
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