MIERIS , the name of a
See also:family of artists who practised
See also:painting at
See also:Leiden for three generations in the 17th and 18th centuries . 1 . FRANS
See also:VAN MIERIS, the elder ( ? 1635–1681), son of
See also:Jan van Mieris, a goldsmith and
See also:diamond setter, was
See also:born, according to
See also:Houbraken, at Leiden on the 16th of
See also:April 1635, and died there on the 12th of
See also:March 1681 . His
See also:father wished to
See also:train him to his own business, but Frans preferred
See also:drawing to
See also:chasing, and took service with Abraham Torenvliet, a glazier who kept a school of design . In his father's
See also:shop he became
See also:familiar with the ways and
See also:dress of
See also:people of distinction . His
See also:eye was fascinated in turn by the sheen of
See also:jewelry and stained
See also:glass; and, though he soon gave up the teaching of Torenvliet for that of
See also:Douw and Abraham van den Tempel, he acquired a manner which had more of the finish of the exquisites of the Dutch school than of the breadth of the disciples of
See also:Rembrandt . It should be
See also:borne in mind that he seldom
See also:chose panels of which the
See also:size exceeded 12 to 15 in., and whenever his name is attached to a picture above that size we may surely assign it to his son Willem or to some other imitator . Unlike Gerard Douw when he first
See also:left Rembrandt, or Jan
See also:Steen when he started on an
See also:independent career, Mieris never ventured to design figures as large as
See also:life . Characteristic of his
See also:art in its minute proportions is a shiny brightness and metallic
See also:polish . The subjects which he treated best are those in which he illustrated the habits or actions of the wealthier classes; but he sometimes succeeded in homely incidents and in portrait, and not unfrequently he ventured on allegory . He repeatedly painted the satin skirt which Ter Borch brought into fashion, and he often rivalled Ter Borch in the faithful rendering of
See also:rich and highly-coloured
See also:woven tissues .
But he remained below Ter Borch and
See also:Metsu, because he had not their delicate perception of harmony or their charming mellowness of
See also:touch and tint, and he fell behind Gerard Douw, because he was hard and had not his feeling for effect by concentrated
See also:light and shade . In the
See also:form of his composition, which sometimes represents the framework of a window enlivened with greenery, and adorned with bas-reliefs within which figures are seen to the
See also:waist, his
See also:model is certainly Gerard Douw . It is a question whether Houbraken has truly recorded this
See also:master's birthday . One of his best-known pieces, a party of ladies and gentlemen at an
See also:luncheon, in the Hermitage at St
See also:Petersburg, bears the date of 165o . Celebrated alikefor composition and finish, it would prove that Mieris had reached his
See also:prime at the age of fifteen . Another beautiful example, the "
See also:Doctor Feeling a
See also:Pulse " in the gallery of Vienna, is dated 1656; and Waagen, in one of his critical essays, justly observes that it is a remarkable production for a youth of twenty-one . In 1657 Mieris was married at Leiden in the presence of Jan Potheuck, a painter, and this is the earliest written record of his existence on which we can implicitly rely . Of the numerous panels by Mieris, twenty-nine at least are dated—the latest being an allegory, long in the Ruhl collection at Cologne, illustrating what he considered the kindred vices of drinking, smoking and dicing, in the
See also:year 1680 . Mieris had numerous and distinguished patrons . He received valuable commissions from Archduke
See also:Leopold, the elector-palatine, and Cosimo III.,
See also:grand-duke of Tuscany . His practice was large and lucrative, but never engendered in him either carelessness or neglect . If there be a difference between the painter's earlier and later
See also:work, it is that the former was clearer and more delicate in flesh, whilst the latter was often darker and more livid in the shadows .
When he died his clients naturally went over to his son Willem, who in turn bequeathed his painting-
See also:room to his son Frans . But neither Willem nor Frans the younger equalled Frans the elder . 2 . WILLEM VAN MIERIS (1662–1747), son of Frans . His
See also:works are extremely numerous, being partly imitations of the paternal subjects, or mythological episodes, which Frans habitually avoided . In no case did he come near the excellence of his sire . 3 . FRANS VAN MIERIS, the younger (1689–1763), also lived on the traditions of his grandfather's studio . The pictures of all the generations of the Mieris family were successfully imitated by A . D . Snaphaan, who lived at
See also:Leipzig and was patronized by the
See also:court of
See also:Dessau . To those who would study his deceptive form of art a visit to the collection of Worlitz near Dessau may afford instruction .
MIEREVELT (MIEREVELD, or MIREVELDT), MICHIEL JANSZ ...
THOMAS MIFFLIN (1744–1800)
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