Frans I 'the Elder' Francken was born in Herentals in 1542. His father, Nicolaas Francken, was an obscure painter whose oeuvre remains unknown, but can be seen as the founding...
Frans I 'the Elder' Francken was born in Herentals in 1542. His father, Nicolaas Francken, was an obscure painter whose oeuvre remains unknown, but can be seen as the founding father of one of the most important dynasties of artists in the Southern Netherlands. Both Frans and his siblings Ambrosius and Hieronymus - who were to become painters as well - were first taught by their father. Karel van Mander mentions in his Schilder-boeck that later on Frans was a pupil of the leading Antwerp Romanist painter Frans Floris. He became a member of the Antwerp guild of St Luke in 1567, and served several times as its dean. Frans Francken married Elisabeth Mertens; the couple had many children, of whom at the time of his death in 1616 six were still alive: Thomas, Frans ('the Younger'), Hieronymus, Ambrosius, Magdalena and Elisabeth. The four sons all became painters and would receive their initial training from their father, who also taught several other pupils, such as Gortzius Geldorp.
Much like his teacher Frans Floris, Frans Francken was one of the principal painters in Antwerp during the initial decades of the Counter-Reformation, and thus worked on many altar pieces which were commissioned to replace the ones that had been destroyed by the iconoclasm of the Calvinists. For these projects he regularly collaborated with his brothers; such is the case, for instance, in an Adoration of the Magi triptych (Brussels, Royal Museums of Fine Arts of Belgium and London, Brompton Oratory) which bears his monogram as well as that of his brother Hieronymus (as well as both brothers' portraits in profile, which they cheekily included in the wings of the tryptich).
Stylistically, Frans' early work was clearly indebted to Frans Floris; later on he developed his own, more classicising style, although he remained a mannerist painter first and foremost. He seems to have been skilled at portraiture, too. Besides large-scale pictures, our painter also produced small-size cabinet pictures, often executed on copper - a genre in which his son Frans II would excel. One of these cabinet paintings is the Adoration of the Magi, currently at the Herzog Anton Ulrich Museum in Braunschweig (see ill.), which is monogrammed 'FF'. Francken seems to have painted several versions of the composition, as two very similar versions were on the art market in 1968 and 2009, respectively.
Although the present drawing could be interpreted as a preparatory work for one of these versions - or perhaps for another, now lost version - its high degree of finish would suggest it was made as a so-called 'picture drawing', i.e. a drawing that functioned as an independent work of art, probably intended for a specific collector. The fact that it, too, is signed with the monogram 'FF' would support this.