Portrait of a Man with a Pink
Quentin Massys (Netherlandish, 1466-1530)
1500–10
View the original$19
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Materials & printing
Archival matte paper, 189 g/m² (10.3 mil), sourced from Japan, printed with multicolor water-based inkjet so every brushstroke stays crisp. Framed prints arrive ready to hang in a .75″ ayous-wood frame with an acrylite front. Sized to standard frames by cropping, never stretching — at most about 3% comes off one edge, which isn’t noticeable on most pieces, and we only offer a size when it stays that small.
Shipping & returns
Made to order and delivered in 5–8 business days (2–4 to print, 3–4 in transit). US shipping only for now. Because each print is made for your order, all sales are final — but if it arrives damaged or defective, send us a photo within 14 days and we’ll replace it free. Full policy.
Why is it this affordable?
A thin, flat margin on every piece — just enough to keep the store running. Most of what you pay is the print itself. We only sell sizes that reproduce at full quality, and we don’t mark up the large sizes the way most shops do.
About this work
In this portrait from relatively early in his career, Quentin Massys followed stylistic conventions that appealed to Antwerp’s growing market of patrons while also exhibiting the bold innovations that ultimately made him one of city’s most influential painters. The sitter appears frozen in a somewhat unnatural pose, as was the fashion for half-length portraits at the time, and the positioning of his left hand on the painting’s lower edge recalls the spatial illusionism found in portraits by Netherlandish artists of the previous generation. However, the subtle modeling of the face conveys a strong sense of the sitter’s individual character at a time when such works tended to idealize their subjects. The pink, or carnation, held by the sitter could symbolize marriage or Jesus Christ’s incarnation.
- Medium
- Oil on panel
- Original size
- 43.8 × 29.2 cm (17 1/4 × 11 1/2 in.)
Museum record · 2 owners · 7 exhibitions
Provenance
- Possibly Colonna di Sciarra collection, Rome. Étienne-Edmond Martin, 2nd baron de Beurnonville, Paris; sold, Pillet, Paris, May 9–16, 1881, as Holbein, to Brame for 14,000 fr..
- Ernest May, Paris; sold, Galerie Georges Petit, Paris, June 4, 1890 (engraved), as Holbein, to Durand-Ruel for Charles L. Hutchinson on behalf of the Art Institute for 13,000 fr..
Exhibitions
- New York, Kleinberger, Loan Exhibition of Flemish Primitives, 1929.
- Antwerp, Exposition d’art flamand ancien, 1930.
- Art Institute of Chicago, A Century of Progress, 1933.
- Art Institute of Chicago, A Century of Progress, 1934.
- New York, Knoedler, Fifteenth Century Portraits, 1935.
- New York, Durlacher Brothers, Six Paintings by Quentin Massys, 1936 (no cat.).
- Columbus (Ohio) Gallery of Fine Arts, A Concert of Masterpieces, 1939.
