1570 Antwerp, Belgium - 1661 or after Antwerp, Belgium. Known for: Landscape painting, figures in landscape, genre.
Antoine Mirou is one of the most renowned painters of the Frankenthal school. Like many Protestants, he took refuge there under the protection of Frederick III, following religious persecutions....
Read full biography Antoine Mirou is one of the most renowned painters of the Frankenthal school. Like many Protestants, he took refuge there under the protection of Frederick III, following religious persecutions. Although he was a pupil of Gillis van Coninxloo, Mirou married Suzanne van Coninxloo in 1602. He...
Read full biography Antoine Mirou is one of the most renowned painters of the Frankenthal school. Like many Protestants, he took refuge there under the protection of Frederick III, following religious persecutions. Although he was a pupil of Gillis van Coninxloo, Mirou married Suzanne van Coninxloo in 1602. He borrowed recurrent motifs from Coninxloo, such as gnarled trees, hunters and buildings on steep rocks. He painted his composition in golden light, highlighting the details and meticulously painted foliage....
Read full biography Antoine Mirou is one of the most renowned painters of the Frankenthal school. Like many Protestants, he took refuge there under the protection of Frederick III, following religious persecutions. Although he was a pupil of Gillis van Coninxloo, Mirou married Suzanne van Coninxloo in 1602. He borrowed recurrent motifs from Coninxloo, such as gnarled trees, hunters and buildings on steep rocks. He painted his composition in golden light, highlighting the details and meticulously painted foliage. The hunters, indicated by a few colored touches, at the edge of the shade of the woods, emerge from the path which is lost in the bluish distance while the heron, in a ray of light on the extreme left, balances the composition.
Antoine Mirou is one of the most renowned painters of the Frankenthal school. Like many Protestants, he took refuge there under the protection of Frederick III, following religious persecutions. Although he was a pupil of Gillis van Coninxloo, Mirou married Suzanne van Coninxloo in 1602. He borrowed recurrent motifs from Coninxloo, such as gnarled trees, hunters and buildings on steep rocks. He painted his composition in golden light, highlighting the details and meticulously painted foliage. The hunters, indicated by a few colored touches, at the edge of the shade of the woods, emerge from the path which is lost in the bluish distance while the heron, in a ray of light on the extreme left, balances the composition.