All Nicolas Maes 's Paintings
The Painting Names Are Sorted From A to Z

Choice ID Image  Paintings (From A to Z)       Details 
43200 A Woman Scraping Parsnips,with a Child Standing by Her  A Woman Scraping Parsnips,with a Child Standing by Her   mk170 1655 Oil on oak 35.6x29.8cm
2658 A Woman Spinning  A Woman Spinning   1655 Rijksmuseum, Amsterdam
20444 Boys Bathing (mk05)  Boys Bathing (mk05)   Canvas 28 1/2 x 36 1/4''((73 x 92 cm)Received in 1914)
67322 flickan i fonstret  flickan i fonstret   se
80117 Gemahlin des Jacob Trip  Gemahlin des Jacob Trip   ca. 1660(1660) Medium color on canvas Dimensions 88 x 68 cm cyf
43201 Interior with a Sleeping Maid and Her Mistress  Interior with a Sleeping Maid and Her Mistress   mk170 1655 Oil on oak 70x53.3cm
50264 Old Woman in Prayer  Old Woman in Prayer   mk210 c.1650-1660 Canvas 132x111cm
82673 Portrait of a woman  Portrait of a woman   Date 1667 cyf
64283 standard-bearer of the civil guard  standard-bearer of the civil guard   1615 the hague gemeentemuseum
2659 The Lacemaker  The Lacemaker   1650's Metropolitan Museum of Art, New York
24285 The Listening Housewife (mk25  The Listening Housewife (mk25   1655
87311 Woman Plucking a Duck  Woman Plucking a Duck   1655-56 Medium Oil on canvas cyf

Nicolas Maes
1634-1693 Dutch Nicolas Maes Galleries Nicolaes Maes, also known as Nicolaes Maas (January 1634, Dordrecht - buried November 24, 1693, Amsterdam) was a Dutch Baroque painter of genre and portraits. Maes was the son of Gerrit Maes, a prosperous merchant, and Ida Herman Claesdr. In about 1648 he went to Amsterdam, where he entered Rembrandt's studio. Before his return to Dordrecht in 1653 Maes painted a few Rembrandtesque genre pictures, with life-size figures and in a deep glowing scheme of colour, like the Reverie at the Rijksmuseum in Amsterdam, the Card Players at the National Gallery, and the Children with a Goat Carriage. So closely did his early style resemble that of Rembrandt, that the last-named picture, and other canvases in the Leipzig and Budapest galleries and in the collection of Lord Radnor, were or are still ascribed to Rembrandt. In his best period, from 1655 to 1665, Maes devoted himself to domestic genre on a smaller scale, retaining to a great extent the magic of colour he had learnt from Rembrandt. Only on rare occasions did he treat scriptural subjects, as in Hagar's Departure, which has been ascribed to Rembrandt. His favorite subjects were women spinning, or reading the Bible, or preparing a meal. While he continued to reside in Dordrecht until 1673, when he settled in Amsterdam, he visited or even lived in Antwerp between 1665 and 1667. His Antwerp period coincides with a complete change in style and subject. He devoted himself almost exclusively to portraiture, and abandoned the intimacy and glowing color harmonies of his earlier work for a careless elegance which suggests the influence of Van Dyck. So great indeed was the change, that it gave rise to the theory of the existence of another Maes, of Brussels. Maes is well represented at the London National Gallery by five paintings: The Cradle, The Dutch Housewife, The Idle Servant, The Card Players, and a man's portrait. At Amsterdam, besides the splendid examples to be found at the Rijksmuseum, is the Inquisitive Servant of the Six collection. At Buckingham Palace is The Listening Girl (repetitions exist), and at Apsley House Selling Milk and The Listener. Other notable examples are at the Berlin, Brussels, St Petersburg, the Hague, Frankfort, Hanover and Munich galleries.

China Oil Painting Studio Team