Michiel Coxcie the Elder, a towering figure in 16th-century Netherlandish art, earned the laudatory title of the "Flemish Raphael" or "Raphael of the North" for his profound assimilation and masterful adaptation of Italian High Renaissance aesthetics. Born in 1499, his life spanned nearly the entirety of a tumultuous yet artistically vibrant century, concluding with his death in Mechelen on March 10, 1592, at the remarkable age of 93. His extensive oeuvre, encompassing religious altarpieces, portraits, tapestry designs, and stained glass, marks him as a pivotal artist who successfully bridged the artistic traditions of Italy and the Low Countries.
Early Life and Artistic Formation in the Southern Netherlands
The precise birthplace of Michiel Coxcie remains a subject of scholarly discussion, with both Mechelen and the Prince-Bishopric of Liège cited as possibilities. Regardless of his exact origins, he emerged from a region rich in artistic heritage. His initial artistic training is widely believed to have been under Bernard van Orley in Brussels. Van Orley himself was a prominent court artist to Margaret of Austria and later Mary of Hungary, and a key figure in introducing Italian Renaissance elements into Netherlandish painting, particularly through his tapestry designs and altarpieces. This apprenticeship would have provided Coxcie with a solid foundation in traditional Flemish techniques, characterized by meticulous detail and rich oil glazes, while also exposing him to the burgeoning interest in Italian forms.
Van Orley's workshop was a bustling center of artistic production, and his influence on Coxcie would have been significant. Van Orley had likely encountered the work of Raphael, perhaps through prints or even a journey to Italy, and his style already showed a move towards more monumental figures and balanced compositions, departing from the more angular and intense expressions of earlier Netherlandish masters like Rogier van der Weyden or Hugo van der Goes. This early exposure to Italianate ideas under Van Orley undoubtedly whetted Coxcie's appetite for a deeper understanding of the Renaissance masters.
The Transformative Italian Sojourn
Around the early 1530s, likely by 1530 or 1531, Michiel Coxcie embarked on a journey to Italy, a pilgrimage considered increasingly essential for ambitious Northern European artists. He spent a significant period in Rome, reportedly until 1539, immersing himself in the art of the High Renaissance. This was a city still resonating with the monumental achievements of Raphael Sanzio, who had died in 1520, and Michelangelo Buonarroti, whose Sistine Chapel ceiling was a beacon for artists. Coxcie diligently studied their works, absorbing their principles of composition, anatomical understanding, idealized human forms, and the use of light and shadow (chiaroscuro) to create volume and drama.
During his time in Rome, Coxcie was not merely a passive observer. He was an active participant in the city's artistic life. He is recorded as having worked on frescoes in the church of Santa Maria dell'Anima, the church of the German-speaking community in Rome. He also associated with other artists and patrons, and it was during this period that his style underwent a profound transformation. He learned to emulate Raphael's grace, harmony, and clarity of narrative, as well as Michelangelo's powerful figural dynamism. The influence of other Italian masters, such as Leonardo da Vinci for his sfumato and psychological depth, or Venetian painters like Titian for their rich color and painterly technique, would also have been accessible to him, further enriching his artistic vocabulary.
Return to the Netherlands and Mature Style
Upon his return to the Southern Netherlands around 1539, Coxcie settled first in Mechelen, where he became a master in the Guild of Saint Luke in 1539. He later also worked extensively in Brussels and Antwerp. His Italian experiences had thoroughly reshaped his artistic vision, and he became a leading proponent of Romanism in the North. His style was characterized by a synthesis of Italian grandeur and Flemish meticulousness. He employed bright, often harmonious color palettes, and his compositions were typically complex and well-balanced, often featuring numerous figures in dynamic poses.
Coxcie demonstrated a particular skill in rendering elegant and graceful female figures, often imbued with a Raphaelesque sweetness. His male figures, while anatomically studied and powerful, sometimes exhibited a certain academic stiffness or exaggerated musculature, reflecting the intense study of classical sculpture and figures by Michelangelo. He was a versatile artist, adept at large-scale altarpieces, devotional paintings, portraits, and designs for other media. His ability to manage large, multi-figured compositions made him highly sought after for significant commissions. Other Flemish artists who also embraced Romanism, such as Frans Floris and Lambert Lombard, were his contemporaries, each contributing to this stylistic shift in Netherlandish art.
Major Themes and Subjects
The vast majority of Michiel Coxcie's output was dedicated to religious subjects, reflecting the devotional needs of his patrons and the prevailing artistic demands of the era, particularly during the Counter-Reformation. He produced numerous altarpieces and triptychs for churches and private chapels across the Low Countries and Spain. These works often depicted scenes from the life of Christ, the Virgin Mary, and the saints. His narrative clarity and the emotional resonance of his figures made his religious paintings particularly effective.
Beyond large-scale altarpieces, Coxcie also painted smaller devotional panels and portraits, although the latter form a smaller part of his known work. His designs for stained glass windows, such as those for the Cathedral of St. Michael and St. Gudula in Brussels, and for tapestries were also highly significant. These designs, often on a grand scale, allowed for complex allegorical or historical narratives and contributed to the widespread dissemination of his Italianate style. The tapestries, woven in the renowned workshops of Brussels, were luxury items exported across Europe, further enhancing his international reputation.
Key Patrons and Prestigious Commissions
Michiel Coxcie's talent and his sophisticated, Italian-influenced style attracted the attention of the most powerful patrons of his time. He worked extensively for the Habsburg rulers, including Emperor Charles V and his son, King Philip II of Spain. He also served Mary of Hungary, Governor of the Habsburg Netherlands. In 1543, he was appointed court painter to Mary of Hungary, a position that solidified his status and provided him with numerous prestigious commissions.
One of his most famous commissions from Philip II was the creation of a full-scale painted copy of the Ghent Altarpiece by Jan and Hubert van Eyck. This monumental task, undertaken between 1557 and 1559, required immense skill and sensitivity to the original 15th-century masterpiece. Coxcie's copy was highly praised and was sent to Spain, where it was installed in the royal chapel in Madrid. This commission underscores the high regard in which Coxcie was held, as he was entrusted with replicating one of the most revered works of Early Netherlandish art. He also created original works for Philip II, many of which were destined for the Escorial, the King's vast palace-monastery complex outside Madrid.
Representative Works: A Glimpse into His Artistry
Michiel Coxcie's prolific career left a rich legacy of artworks, many of which are still admired in major museums and collections.
Copy of the Ghent Altarpiece (central panels in St. Bavo's Cathedral, Ghent; wings in Gemäldegalerie, Berlin, and Royal Museums of Fine Arts of Belgium, Brussels): While the original remains a pinnacle of art, Coxcie's copy (commissioned by Philip II) was a remarkable achievement. Two panels, The Just Judges and John the Baptist, were stolen in 1934; John the Baptist was returned, but The Just Judges was replaced by a copy by Jef Van der Veken. Coxcie's own copy of the Adoration of the Mystic Lamb is a testament to his skill and was highly valued.
The Death of the Virgin (c. 1550, Museo Nacional del Prado, Madrid): This triptych is a prime example of Coxcie's mature style. The central panel depicts the Virgin Mary on her deathbed, surrounded by apostles in attitudes of grief and prayer. The composition is balanced, the figures are imbued with classical dignity, and the emotional atmosphere is palpable. The influence of Italian masters, particularly Raphael, is evident in the graceful rendering of the figures and the harmonious arrangement.
The Martyrdom of St. Philip (El Escorial, Spain): This work, created for Philip II, showcases Coxcie's ability to handle dramatic and complex scenes. The painting depicts the apostle Philip being crucified, a scene filled with dynamic figures and intense emotion, characteristic of Counter-Reformation art that aimed to inspire piety and awe.
Santa Cecilia (c. 1569, Museo Nacional del Prado, Madrid, originally for the church of Santa Cecilia in the Trastevere, Rome, but later acquired by Philip II for El Escorial): This painting depicts the patron saint of music playing an organ, accompanied by angels. It is a work of serene beauty, showcasing Coxcie's skill in rendering delicate features and rich textures. The composition is harmonious, and the subject matter reflects the period's interest in classical and Christian themes.
The Holy Kinship (St. Rumbold's Cathedral, Mechelen): This altarpiece, depicting the extended family of Christ, is another significant religious work that demonstrates his mastery of large-scale compositions and his ability to convey a sense of familial piety.
Tapestry Designs: Coxcie produced numerous series of tapestry designs, including the Story of Cyrus, the Story of Noah, and the Loves of Jupiter. These designs, translated into woven form by the skilled weavers of Brussels, were highly influential and showcased his narrative abilities and his command of classical mythology and biblical stories. These series were often large and complex, involving many individual scenes.
Collaborations, Workshop, and Engravings
Like many successful artists of his time, Michiel Coxcie likely maintained an active workshop with assistants and pupils to help manage the large volume of commissions he received. While specific details about his workshop practices are not always extensively documented, the scale and consistency of his output suggest a well-organized studio. His sons, Raphael Coxcie and Michiel Coxcie the Younger, also became painters, continuing the family's artistic tradition.
Coxcie's influence was further amplified through engravings made after his designs. He collaborated with prominent engravers, or his works were copied by them, which allowed his compositions to reach a wider audience across Europe. Figures like Cornelis Cort, who engraved many works by Titian, and the Wierix brothers were active in disseminating artistic ideas through prints. While direct collaborations with specific engravers like Agostino Veneziano or Marcantonio Raimondi (or their school) are part of the broader context of Italian printmaking that influenced the North, Coxcie's own designs became source material for Northern engravers, contributing to the spread of his Romanist style.
Personal Life and Family
Michiel Coxcie's personal life is known to have included two marriages. His first wife was Ida van Hasselt, with whom he had several children. After her death, at the advanced age of around 70, he married Jeanne van Schelle (or van Schellen). In total, he is reported to have had six children. As mentioned, at least two of his sons, Raphael van Coxcie (c. 1540–1616) and Michiel Coxcie the Younger (c. 1569–1616), followed in his footsteps as painters. Raphael, in particular, achieved considerable success and also worked for Philip II of Spain. This familial continuation of the artistic profession was common during this period.
His long life meant he witnessed significant changes in the political and religious landscape of the Netherlands, including the rise of Protestantism and the ensuing conflicts. His personal faith appears to have remained staunchly Catholic, as evidenced by his artistic output and his actions during periods of religious strife.
The Beeldenstorm and Religious Convictions
The 16th century was a period of intense religious upheaval in Europe, culminating in the Protestant Reformation and the Catholic Counter-Reformation. The Low Countries were particularly affected by these tensions. In 1566, the "Beeldenstorm" (Iconoclastic Fury) swept through the Netherlands, resulting in the widespread destruction of religious images and church decorations by Calvinist mobs.
Michiel Coxcie, a devout Catholic and an artist whose livelihood depended heavily on religious commissions, was deeply opposed to this iconoclasm. Historical records indicate that he actively participated in efforts to protect artworks and religious institutions in Mechelen during these outbreaks. His loyalty to the Catholic Church and the Habsburg rulers, who were champions of Catholicism, was unwavering. This stance is reflected in the predominantly religious nature of his oeuvre, which aligned with the Counter-Reformation's emphasis on art as a tool for instruction and inspiration.
Later Years and Evolving Style
Michiel Coxcie remained artistically active well into his old age, a testament to his enduring skill and reputation. He continued to receive significant commissions even in his later decades. While his fundamental style, rooted in the Italian High Renaissance, remained consistent, some art historians note that by the late 16th century, his work might have appeared somewhat conservative compared to newer artistic trends emerging in the Netherlands, such as the more dynamic and dramatic early Baroque tendencies or the burgeoning genre scenes of artists like Pieter Bruegel the Elder (though Bruegel represented a very different, more indigenous Netherlandish tradition).
Despite this, Coxcie's mastery of composition, his refined technique, and his ability to convey religious narratives with dignity and grace ensured his continued relevance. His patrons, particularly Philip II, valued his established style and his reliability in executing large and important projects. His long career allowed him to influence several generations of artists, either directly through his workshop or indirectly through the widespread dissemination of his works and designs.
Art Historical Significance and Shifting Legacy
Michiel Coxcie's position in art history is significant, primarily as one of the foremost "Romanists" – Northern artists who journeyed to Rome and profoundly assimilated Italian Renaissance ideals, subsequently transforming art in their home countries. His moniker, the "Flemish Raphael," speaks volumes about the perception of his art, both by his contemporaries and by later generations. He played a crucial role in introducing and popularizing a classical, idealized aesthetic in the Southern Netherlands, moving away from the more angular and symbolic qualities of earlier Flemish painting towards a style characterized by harmony, balance, and naturalism inspired by masters like Raphael and Michelangelo.
For centuries, Coxcie was celebrated. However, during the 19th century, with the rise of Romanticism and cultural nationalism, his reputation, like that of many Romanists, suffered. Critics of this era often prized perceived "native" artistic qualities and viewed the Italianate influence as derivative or as a dilution of authentic local traditions. Coxcie was sometimes criticized for being an imitator, lacking the "originality" that became a key criterion of artistic greatness in modern art historical thought. Artists like Pieter Bruegel the Elder, with his focus on peasant life and local landscapes, were often elevated above the Romanists during this period.
In more recent decades, art historical scholarship has adopted a more nuanced view. Coxcie's work is now re-evaluated not merely for its "originality" in the modern sense, but for its skillful synthesis, its historical importance in cultural exchange, and its intrinsic artistic merit. His ability to adapt Italian models to Northern European tastes and requirements, his technical prowess, and his influence on the course of Flemish art are now more fully appreciated. He is recognized as a master who successfully navigated the complex artistic currents of his time, creating a body of work that is both beautiful and historically significant. His influence can be seen in the work of later Flemish artists who continued to look towards Italy, eventually paving the way for the grandeur of the Flemish Baroque, exemplified by Peter Paul Rubens, who himself undertook a transformative Italian journey a few decades after Coxcie's death.
Conclusion
Michiel Coxcie the Elder stands as a pivotal figure in the art of the Southern Netherlands during the 16th century. His deep engagement with the Italian Renaissance, particularly the art of Raphael, allowed him to forge a distinctive and influential style that successfully blended Italian classicism with Flemish traditions. As a prolific painter of religious subjects, portraits, and a designer of tapestries and stained glass, he served the highest echelons of society, including the Habsburg court. Despite fluctuations in his critical fortune, his technical mastery, the elegance of his compositions, and his historical role as a key conduit for Renaissance ideals in Northern Europe secure his place as an important master. His long and productive life left an indelible mark on the artistic landscape of his time, and his works continue to be studied and admired for their refined beauty and historical importance.
