Artist
Born in Antwerp, Belgium
The Life and Art of Joris van Son
Born in Antwerp, Belgium, Joris van Son was a Flemish still life painter who became a master in the Guild of Saint Luke of Antwerp during the 1643/1644 guild year. His artistic output was diverse, encompassing various sub-genres of still life, including fruit still lifes, flower pieces, banquet still lifes, vanitas still lifes, garland paintings, and pronkstillevens. He was also known for painting fish still lifes representing the Four Elements. His work was highly regarded by collectors, appearing in the collections of traders such as Geraert van Dorth and artists like Victor Wolfvoet.
Van Son's technical skill was particularly evident in his ability to render the physical qualities of fruit, such as the hairiness of peaches. In his garland paintings, he often collaborated with figure artists like Erasmus Quellinus II, Pieter Boel, and Frans Wouters, creating compositions where fruit or flower garlands framed devotional or secular images. His later work in the late 1650s transitioned into more modest still lifes with restrained composition and coloring, such as his depictions of fruit baskets, lobsters, and oysters.
Legacy and Family
The artist's personal life included membership in the pious bachelor society, the Sodaliteit van de Bejaerde Jongmans, in 1647. He was married to the mother of his children, Cornelia van Heulens, with whom he had a daughter, Maria Chatharina, and a son, Jan Frans. While Joris van Son died in Antwerp in 1667, his son Jan Frans went on to become a still life painter who worked in England.
Van Son's studio served as a training ground for several pupils, including:
Museum
On show in Munich, Germany
The History of Alte Pinakothek
The Alte Pinakothek is located in Munich, Germany. It is one of the oldest galleries in existence, holding a collection that spans from the fourteenth to the eighteenth centuries. The institution was commissioned by King Ludwig I of Bavaria in 1826. Following its construction, the building opened to the public on 16 October 1836.
The museum functions as a central component of the Bavarian State Painting Collections. Its origins are tied to the Wittelsbach family, whose art acquisitions formed the core of the holdings. The collection includes significant works from the Northern Renaissance and the Baroque era, such as:
The Mocking of Christ, 1503 - Matthias Grünewald
The Battle of Alexander at Issus, 1529 - Albrecht Altdorfer
The Lion Hunt, 1621 - Peter Paul Rubens
Peasants Fighting, 1631 - Adriaen Brouwer
The institution has maintained its purpose through significant historical shifts. It remains a primary repository for European painting from the late Middle Ages through the mid-18th century.
The Neoclassical Architecture and Design
Commissioned by King Ludwig I, the building was designed by Leo von Klenze. Construction of the structure took place between 1826 and 1836. The design rejects the cluttered ornamentation of the Gothic Revival style, favoring Neoclassical clarity instead. This architectural choice establishes a sense of permanence through thick masonry walls, which measure one meter in thickness. These walls are faced with yellow, polished brick.
The scale of the building is substantial. It stretches 150 meters in length and reaches heights of 25 meters. The width of the structure is 50 meters. Inside, the architecture is defined by the integration of skylights. These skylights flood the galleries with natural illumination, allowing the paintings to be viewed under conditions that honor their original textures and colors.
Resilience and Reconstruction of the Building
The history of the building is marked by significant structural damage. During the Second World War, heavy bombing left the museum severely damaged, leaving a 45-meter-wide hole in the center of the structure. Reconstruction was carried out between 1952 and 1957 under the direction of Hans Döllgast. During this period, the decision was made not to restore the ornate pre-war interior to its former state, resulting in a more stripped-back, modern atmosphere within the galleries.
Technical updates have continued to address the preservation of the collection. A fundamental renovation and modernization took place in the 1990s to update the facility. In 2007, a further renovation was initiated, focusing on energy efficiency and the stabilization of the indoor climate. These measures ensure the environment remains suitable for the delicate oil on canvas works held within the halls.
The European Painting Collection
The collection comprises over 700 works of European painting, spanning the fourteenth to the eighteenth centuries. These holdings originated largely from the art treasures of the Wittelsbach family. The museum's scope is part of a larger institutional framework; the Bavarian State Painting Collections manage more than 25,000 artworks across their various platforms.
The holdings include one of the largest collections of paintings by Albrecht Dürer and Peter Paul Rubens. These artists represent significant pillars of the museum's focus on Northern and Flemish traditions. The selection of works reflects the evolution of European art through several centuries of technical development.
The Mocking of Christ, 1503 - Matthias Grünewald
Madonna and Child (The Tempi Madonna), 1508 - Raphael
The Lion Hunt, 1621 - Peter Paul Rubens
Self Portrait, 1629 - Rembrandt van Rijn
Peasants Fighting, 1631 - Adriaen Brouwer
Masterpieces of the Alte Pinakothek
The collection contains significant works from the Northern and Italian traditions. Matthias Grünewald’s The Mocking of Christ (1503) presents a visceral Northern Renaissance realism. Nearby, the 1529 Battle of Alexander at Issus by Albrecht Altdorfer offers a view of historical narrative through a specific lens of scale and composition. These works are part of a concentrated look at the evolution of European art held within the museum's walls.
The Baroque era is represented by the dynamic energy of Peter Paul Rubens, notably in his 1621 Lion Hunt. In the same period, Rembrandt van Rijn’s Selfportrait at the Age of 27 (1629) demonstrates an early experimentation with chiaroscuro. He uses deep shadows to sculpt his features, creating a palpable sense of presence on the canvas. The interplay of light and shadow remains a central technical theme throughout the galleries.
Religious and devotional subjects are also central to the holdings. Raphael’s Canigiani Madonna (1507) and Rogier van der Weyden’s The Annunciation represent different approaches to spiritual themes and humanism. The museum's arrangement allows for a direct comparison between these distinct stylistic developments.
The Mocking of Christ, 1503 - Matthias Grünewald
The Lion Hunt, 1621 - Peter Paul Rubens
The Battle of Alexander at Issus, 1529 - Albrecht Altdorfer
The Annunciation - Rogier van der Weyden
The Canigiani Madonna, 1507 - Raphael
Selfportrait at the Age of 27, 1629 - Rembrandt van Rijn
Visiting the Museum
The Alte Pinakothek is situated within the Kunstareal area in Munich, Germany. Visitors can plan their attendance according to the established weekly schedule. The institution is closed on Mondays. On Tuesdays and Wednesdays, the galleries remain open from 10:00 AM until 8:00 PM. During the remainder of the week, including Thursday, Friday, Saturday, and Sunday, the museum operates from 10:00 AM to 6:00 PM.
For those visiting on a Sunday, the admission fee is one euro per person. The building is designed to be accessible, with several elevators providing access to all exhibition levels. For visitors with limited mobility, the museum provides lightweight, portable folding chairs and two wheelchairs upon request at the information desk. The cloakroom is located on the ground floor, where jackets and bags may be checked for a fee of one euro per person. Lockers are also available for use.
The Mocking of Christ, 1503 - Matthias Grünewald
Madonna and Child (The Tempi Madonna), 1508 - Raphael
The Lion Hunt, 1621 - Peter Paul Rubens
The Battle of Alexander at Issus, 1529 - Albrecht Altdorfer
Self Portrait, 1629 - Rembrandt van Rijn
