(also spelled Hieronymus, Heironimos) (died c. 1593) was a Flemish portrait painter active in England in the reign of Elizabeth I. A native of Antwerp, Custodis was one of many Flemish artists of the Tudor court who had fled to England to avoid the persecution of Protestants in the Spanish Netherlands.He is thought to have arrived in England sometime after the fall of Antwerp to the forces of the Duke of Parma in 1585. Three English portraits by Custodis signed and dated 1589 firmly establish him as resident in London by that year. Sir Roy Strong attributes a portrait of Sir Henry Bromley dated 1587 to Custodis, suggesting an earlier arrival, and has verified the recent attribution of a portrait of the young Edward Talbot dated 1586 to Custodis.In 1591, he was living in the parish of St Bodolph-without-Aldgate where "Jacobus the son of Ieronyme Custodis A Paynter" was baptised on 2 March. He is assumed to have died in 1593, as all of his known works are dated between 1589 and 1593, and his widow remarried that year. Custodis's unsigned but dated works are idenitified by "palaeographical peculiarities" in the inscriptions which can be closely matched to those in his signed portraits.   Related Paintings of Hieronimo Custodis :. | Juramento de los Treinta y Tres Orientales | Ritt zum Markt | Mis. Hamihedun | Pieta | The Castle ar Dolceaqua |
Related Artists:
Ivan Nikolaevich Kramskoy
Russian Painter, 1837-1887
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Jean Greuze
French 1725-1805 French painter and draughtsman. He was named an associate member of the Acad?mie Royale de Peinture et de Sculpture, Paris, in 1755 on the strength of a group of paintings that included genre scenes, portraits and studies of expressive heads (t?tes d'expression). These remained the essential subjects of his art for the next 50 years, except for a brief, concentrated and unsuccessful experiment with history painting in the late 1760s, which was to affect his later genre painting deeply. Though his art has often been compared with that of Jean-Sim?on Chardin in particular and interpreted within the context of NEO-CLASSICISM in general, it stands so strikingly apart from the currents of its time that Greuze's accomplishments are best described, as they often were by the artist's contemporaries, as unique. He was greatly admired by connoisseurs, critics and the general public throughout most of his life. His pictures were in the collections of such noted connoisseurs as Ange-Laurent de La Live de Jully, Claude-Henri Watelet and Etienne-Fran?ois, Duc de Choiseul. For a long period he was in particular favour with the critic Denis Diderot, who wrote about him in the Salon reviews that he published in Melchior Grimm's privately circulated Correspondance litt?raire. His reputation declined towards the end of his life and through the early part of the 19th century, to be revived after 1850,