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De Vos was a prolific artist who produced a large body of work in the categories of large paintings on canvas, drawings and oil sketches. He often signed his paintings but never dated them which makes it difficult to establish a precise chronology. His subject matter was varied and included scenes
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De Vos was able to develop his own personal style that accentuated abrupt movement, the gruesome aspects of hunts, used warmer colours and a broader brush stroke than
Snyders. He also expanded the iconographic tradition with scenes of fighting cats and horses attacked by wolves.
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of pantries, quarrelling dogs, bird concerts and animal fights. He specialized in monumental animal scenes, especially hunts for aristocratic patrons, that are heavily influenced by Frans
Snyders. In the past, a lot of his works have been misattributed to Snyders.
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There are various collaborations recorded with Jan
Wildens, who was Paul de Vos' brother-in-law since Paul's brother Cornelis had married Wildens' half-sister Susanna Cock on 27 May 1617. Example of collaborations with Jan Wildens are the compositions
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His collaborations with Rubens consisted mainly of hunting scenes. He was an important contributor on the series of hunting scenes designed by Rubens in the period 1636-1638 for the hunting pavilion
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painter who specialized in mainly in compositions of animals, hunting scenes and still lifes. He worked for an elite clientele and was a regular collaborator of leading
Antwerp painters such as
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Peter C. Sutton, Northern
European Paintings in the Philadelphia Museum of Art: From the Sixteenth and the Nineteenth Century, Philadelphia Museum of Art, 1 January 2000, pp. 346–349
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was the godfather of one of their sons named Peter Paul born in 1628. The de Vos family prospered and were able to make important investments in real estate in
Antwerp.
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In 1604 Paul de Vos became a pupil of the obscure painter Denijs van Hove in
Antwerp. In 1605 he continued his studies under the little-known painter
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Katlijne Van der
Stighelen and Arnout Balis. "Vos, de (i)."] Grove Art Online. Oxford Art Online. Oxford University Press. Web. 9 January 2017
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As was common amongst artists in 17th-century
Antwerp, De Vos frequently collaborated with other painters. He collaborated with Rubens,
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De Vos introduced new motifs into the iconographic tradition in his scenes of fighting cats and horses attacked by wolves.
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also trained. He later also trained with the equally obscure Eduard
Snayers. De Vos became a master and joined the
240:(Auctioned at Sotheby's on 28 January 2016 in New York, lot 30), which resemble the paradise paintings created by
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at a late age in 1620, probably because he had initially trained and worked in the workshop of his brother-in-law
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Paul de Vos married Isabella Waerbeek, a notary's daughter, on 15 Nov 1624 and the couple had 10 children.
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Arnout Balis, Rubens hunting scenes, Part 18, Harvey Miller, 5 Mar 1987, pp. 70–87
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Svetlana Alpers, 'The decoration of the Torre de la Parada', Phaidon, 1971, p. 144
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De Vos enjoyed the patronage of influential aristocrats in Spain such as the
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In 1637-1638 he worked on the decorations for the Spanish royal residences,
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He had two pupils: Alex Daemps in 1627 and Lancelot van Daelen in 1636.
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De Vos was born in Hulst near Antwerp, now in the Dutch province of
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A Powerful Appearance of Life: Cornelis de Vos’s Mother and child
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263:Philip IV
383:Archived
227:Paradise
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55:Baroque
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