HUYSMANS  , the name of four Flemish painters who matriculated in the See also:

• ANTWERP
• ANTWERP (Fr. Anvers)

Antwerp gild in the 17th See also:

• CENTURY (from Lat. centuria, a division of a hundred men)

century . Cornelis the See also:

• ELDER (0. Eng. ellarn; Ger. Holunder; Fr. sureau)
• ELDER (Gr. 1rpev(3iTepos)

elder, apprenticed in 1633, passed for a mastership in 1636, and remained obscure . See also:

• JACOB
• JACOB, JOHN (1812-1858)

Jacob, apprenticed to Frans Wouters in 165o, wandered to See also:

• ENGLAND
• ENGLAND, THE CHURCH OF

England towards the See also:

• CLOSE
• CLOSE (from Lat. clausum, shut)
• CLOSE, MAXWELL HENRY (1822-1903)

close of the reign of See also:

• CHARLES
• CHARLES (1270-1325)
• CHARLES (1421-1461)
• CHARLES (1525-1574)
• CHARLES (c. 1319-1364)
• CHARLES (Fr. Charles; Span. Carlos; Ital. Carlo; Ger. Karl; derived from O.H.G. Charal,latinized as Carolus, meaning originally " man ": cf. Mod.Ger., Kerl," fellow," A.S. ceorl, Mod. Eng. " churl ")
• CHARLES (KARL EITEL ZEPHYRIN LUDWIG; in Rum. CAROL)
• CHARLES [KARL ALEXANDER] (1712-1780)
• CHARLES, ELIZABETH (1828-1896)
• CHARLES, JACQUES ALEXANDRE CESAR (1746-1823)
• CHARLES, THOMAS (1755-1814)

Charles II., and competed with See also:

• LELY, SIR PETER (1617—168o)

Lely as a fashionable portrait painter . He executed a portrait of the See also:

• QUEEN
• QUEEN (O.E. cwen, wife, related to "quean," O.E. cwene, a hussy; cf. Gr. yvvi7: from root gan-, to produce; cf. genus, " kin," &c.)

queen, See also:

• CATHERINE
• CATHERINE, SAINT

Catherine of See also:

• BRAGANZA (Braganca)

Braganza, now in the See also:

• NATIONAL

national portrait See also:

• GALLERY (through Ital. galleria, from Med. Lat. galeria, of which the origin is unknown)

gallery, and See also:

• HORACE [QuINTus HORATIUS FLACCUS] (65-8 B.C.)

Horace See also:

• WALPOLE, HORATIO
• WALPOLE, SIR SPENCER (1839-1907)

Walpole assigns to him the likeness of See also:

• LADY (0. Eng. hlaefdige, Mid. Eng. ldfdi, lavedi; the first part of the word is hldf, loaf, bread, as in the corresponding hldford, lord; the second part is usually taken to be from the root dig-, to knead, seen also in " dough "; the sense development fr

Lady Bellasys, catalogued at See also:

• HAMPTON
• HAMPTON, WADE (1818-1902)

Hampton See also:

• COURT
• COURT (from the O. Fr. court, Late Lat. cortis, curtis, a popular form of class. Lat. cohors, gen. cohortis; the mod. Fr. form tour is due to the influence of the Lat. curia, the word used in medieval documents to translate " court " in the feudal sense)
• COURT, ANTOINE (1696-176o)

Court as a See also:

• WORK

work of Lely . His portrait of Izaak See also:

• WALTON, BRIAN (1600-1661)
• WALTON, IZAAK (1593-1683)

Walton in the National Gallery shows a disposition to imitate the styles of See also:

• RUBENS, PETER PAUL (1577-164o)

Rubens and See also:

• VAN

Van Dyke . According to most accounts he died in See also:

• LONDON

London in 1696 . See also:

• JAN

Jan Baptist Huysmans, See also:

• BORN, IGNAZ, EDLER VON (1742–1791)

born at Antwerp in 1654, matriculated in 1676-1677, and died there in 1715-1716 . He was younger See also:

• BROTHER

brother to Cornelis Huysmans the second, who was born at Antwerp in 1648, and educated by Gaspar de Wit and Jacob van See also:

• ARTOIS

Artois . Of Jan Baptist little or nothing has been preserved, except that he registered numerous apprentices at Antwerp, and painted a landscape dated 1697 now in the See also:

• BRUSSELS (Fr. Bruxelles, Flem. Brussel)

Brussels museum . Cornelis the second is the only See also:

• MASTER (Lat. magister, related to tnagis, more, as the corresponding minister is to minus, less; the English form is due partly to the O. Eng. maegister, and partly to O. Fr. maistre, mod. maitre; cf. Du. meester, Ger. Meister, Ital. maestro)

master of the name of Huysmans whose See also:

• TALENT (Lat. talentum, adaptation of Gr. TaXavrov, balance, ! Recollections of a First Visit to the Alps (1841); Vacation Rambles weight, from root raX-, to lift, as in rXi vac, to bear, 1-aXas, and Thoughts, comprising recollections of three Continental

talent was largely acknowledged . He received lessons from two artists, one of whom was See also:

• FAMILIAR (through the Fr. familier, from Lat. familiaris, of or belonging to the familia, family)

familiar with the See also:

• ROMAN

Roman See also:

• ART

art of the Poussins, whilst the other inherited the scenic See also:

• STYLE
• STYLE (from Gr. a-6'1ms, a column; a different word from that used in literature, see below)

style of the school of Rubens . He combined the two in a See also:

• RICH, BARNABE (c. 1540-1617)
• RICH, CLAUDIUS JAMES (1787-1821)
• RICH, JOHN (1692-1761)
• RICH, PENELOPE, LADY (c. 1562–1607)
• RICH, RICHARD, 1ST BARON RICH (1490?-1567)

rich, highly coloured, and usually effective style, which, however, was not See also:

• FREE

free from monotony .

Seldom attempting anything but woodside views with See also:

• FANCY (a shortened form, dating from the 15th century, of " fantasy," which is derived through the O. Fr. fantasie, modern fantaisie. from the Latinized form of the Gr. cbavraoia, Oavrai'ecv, Oat Pais, to show)

fancy backgrounds, See also:

• HALF

half See also:

• ITALIAN

Italian, half Flemish, he painted with See also:

• GREAT

great facility, and See also:

• LEFT

left numerous examples behind . At the outset of his career he practised at See also:

• MALINES (Flemish, Mechelen, called in the middle ages by the Latin name Mechlinia, whence the spelling Mechlin)

Malines, where he married in 1682, and there too he entered into some business connexion with van der See also:

• MEULEN, ANTONY FRANCIS VAN DER (1634–1690)

Meulen, for whom he painted some backgrounds . In 1706 he withdrew to Antwerp, where he resided till 1717, returning then to MVIalines, where he died on the 1st of See also:

• JUNE

June 1727 . Though most of his pictures were composed for cabinets rather than churches, he sometimes emulated van Artois in the See also:

• PRODUCTION (Lat. productionem, from producere, to pro-duce)

production of large sacred pieces, and for many years his " See also:

• CHRIST (Gr. X pLQTOS, Anointed)
• CHRIST, WILHELM VON (1831-1906)

Christ on the Road to See also:

• EMMAUS

Emmaus " adorned the See also:

• CHOIR (0. Fr. cuer from Lat. chorus; pronounced quire, and until the end of the 17th century so spelt, the spelling being altered to agree with the Fr. chceur)

choir of Notre See also:

• DAME
• DAME (through the Fr. from Lat. domina, mistress, lady, the feminine of dominus, master, lord)

Dame of Malines . In the gallery of See also:

• NANTES
• NANTES, EDICT OF

Nantes, where three of his small landscapes are preserved, there hangs an " Investment of Luxembourg," by van der Meulen, of which he is known to have laid in the background . The national galleries of London and See also:

• EDINBURGH

Edinburgh contain each one example of his skill . See also:

• BLENHEIM (Ger. Blindheim)

Blenheim, too, and other private galleries in England, possess one or more of his pictures . But most of his See also:

• WORKS

works are on the See also:

• EUROPEAN

European See also:

• CONTINENT (from Lat. continere, "to hold together "; hence " connected," " continuous ")

continent .