The Moneylender and His Wife By Quentin Metsys (1466-1530) Oil on panel 1514

ABOUT THE ARTIST:

Born in Louvain, Belgium in 1466, Quentin Metsys was trained as an ironsmith before becoming a painter and later settling in , Belgium where in 1491 he is mentioned as a master in the guild of painters. At this time, Antwerp was the center of economic activity in the which were comprised of Flanders (Northern Belgium) and the . The growth and prosperity of Antwerp also attracted many artists who benefitted from the wealthy merchants who would collect and purchase their art. Metsys became Antwerp’s leading artist and founder of the .

There is little known of Metsys’s artistic training but his style reflects the influence of multiple artists. “Matsys’ firmness of outline, clear modelling and thorough finish of detail stem from Van de Weyden's influence; from the Van Eycks and Memling by way of Dirck Bouts, the glowing richness of transparent pigments.” Other artists that have been referenced are Hieronymus Bosch, Albrecht Durer, Hans Holbein and Leonardo da Vinci. Not only is a religious influence felt in Metsys’s , which was typical of traditional Flemish works, but he included a bit of satire as well.

Metsys died in Antwerp in 1530. To mark the first centennial of his death there was a ceremony and a relief plaque with an additional inscription on the facade of the Antwerp Cathedral. Cornelius van der Geest, a patron, came up with the wording: "in his time a smith and afterwards a famous painter" honoring Metsys’ life.

ABOUT THE :

A major trading center for commerce between Northern and Southern Europe, merchants from all over Europe would come to Antwerp using a variety of currencies allowing many moneylenders and moneychangers an opportunity for their business to thrive.

This oil on panel exhibiting a moneylender and his wife is an example of . This form of painting depicts everyday life and was a very popular form in Flanders and the northern Netherlands during the 16th century. Another common device used was the inclusion of a moralizing undertone. Metsys was one of the founders of this form and here he has made a commentary on society and its vices as well as the weakness of humanity.

Centered in the painting is a man and woman staring intently at something in the man’s hand. Scattered across the table in the foreground are various gold coins, pearls nestled against a black velvet box, a stack of gold rings with gems, a glass canister, various silver objects, a convex mirror, a scale (a possible reference to the scales of the Last Judgment) and a religious book in the woman’s hands. Many of these items are symbols of and vanity.

Metsys has paid a great deal of attention to the detail of this painting rendering it in such clarity that it is easy to see and almost feel the brass tacks holding the decorative banding on the front of the table. The convex mirror reflects a stained glass window with a building and trees as well as an image of a man, some think it is in fact Metsys. This technique was used a great deal in Flemish painting as a way to incorporate the space beyond the central scene. The pages of the religious book show highly detailed illustrations as well as the miniscule text. The man appears to have paused while weighing the coins and his wife has been distracted from her reading of the Virgin Mary. It is here with the wife’s loss of interest in her religious text and clear fascination with the rich objects her husband pores over where we see Metsys’s commentary on the greed of society.

The man and his wife are also painted in great detail. Looking closely you can see the stubble on the man’s face and his furrowed brow as he concentrates on the task at hand. Metsys uses shadowing to depict the folds and pleats in the clothing. Typical of Flemish artists at the time, there was a focus on ornamentation, jewelry and the trim of the clothing. The wife has a fur-lined dress and meticulously painted gold braid along her cuff. The decorative hat pin stands out against the folds and the white of her headdress.

Continuing to reinforce his moral message Metsys includes objects in the background that also may have symbolic significance. The apple alludes to original , the extinguished candle refers to death. The purity of the Virgin is portrayed with the carafe of water and the rosary hanging from the shelf. Lastly it is believed the small wooden box is a place where faith has retreated. Other objects included in the shelves are ledgers, paperwork and a beautifully depicted tin plate. Painted with such detail the light is reflected off each hanging glass ball of the rosary as well as the carafe and tin plate. To the right of the shelves is an open doorway. It appears a young man is in deep conversation with an old man. This small slice of the painting leads the eye and imagination to a scene beyond its frame.

The use of contrasting and green as well as the meticulously paid attention to detail of the objects has led some to believe this is a copy of a lost work by .

QUESTIONS TO ASK:

• Is this a painting? Or a photograph? It is painted in such fine detail as it almost looks like a photograph.

• What do you think the Moneylender is holding in his hand?

• What is the expression on both of their faces? Surprised? Mad? Happy?

• If they could speak. What do you think they would say to us?

• If you did not know the date of the painting would you think it was painted now? What clues give you an idea it was from a long time ago?

• Where is the light source? How do you know where it is coming in?

• Besides light what else is reflected in the mirror?

• How many figures are actually in this painting? What do you think they are they doing?

• What is the mood of this painting? How does it make you feel?

• Metsys paid great attention to detail- what other interesting objects can be found?