Canvas 41 cm by 33 cm
Old wooden frame blackened 68 cm by 59 cm
David Teniers (1610-1690)
He received his first painting lessons from his father, David Téniers the Elder (1582-1649). In 1632 he became a member of the Antwerp Guild as a specialist in small religious formats and genre paintings. He then becomes friends with Jan Brueghel the Elder, known as Velvet who became his father-in-law in 1637 by marrying his daughter Anne. Already recognized, Already recognized, he receives several subsidies from the office of Master of the Chapel of the Blessed Sacrament at the Church of St. James, and Dean of the Guild of St. Luke.
In 1647 he worked for the archduke Leopold-Wilhelm of Habsburg, then administrator of the Spanish Netherlands, and he followed him to Brussels as a court painter in 1651.
This charge included the management of the Archduke's collection of works of art. In 1660 he produced an illustrated catalog, the Theatrum Pictorium. A good part of the collection came from auctions of English nobles, which puritanism had driven away. Leopold-Guillaume bequeathed this collection to his nephew Leopold I, so that it became imperial property and today represents an important part of the Museum of Art History of Vienna.
His work for Leopold-William earned him immense success with foreign rulers, such as Prince William II of Orange, Queen Christina of Sweden and King Philip IV of Spain. He also worked for Don Juan of Austria, successor of Leopold-Guillaume. He remarried in 1656 with Isabelle de Fren, with whom he had four children.
In 1663 he was knighted and took an active part in the Academy of Fine Arts in Antwerp, where he was the first director.
He is the father of the painter David Teniers III.
The work of Teniers is considerable, more than a thousand of his paintings are cataloged. The fact is not extraordinary considering that Teniers, who died at the age of 80, having started painting at a very young age, possessed such ease of execution that he could paint a painting in one day.
In his first works, he continues the traditional Francken way. It was under the influence of Brouwer that he moved, from 1632, towards genre painting and also painted landscapes with simplified plans dominated by browns and grays. In an intermediate period, which is considered the peak of his career from 1640 to 1650, he adopts a clearer palette and represents small scenes of bourgeois and popular life as well as animated landscapes. Finally, in his last decade, his palette darkens again and his touch becomes heavier.