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(1) Jan van Coninxloo II
(b Brussels, 1489; d ?Antwerp, after 1552). Painter. His work appears rather old-fashioned, retaining the influence of 16th-century polyptychs from Brabant, with their arrangements of figures in groups, isolated fragments of landscape and layering of planes to suggest depth. Unlike such contemporaries as Quinten Metsys and Bernard van Orley (see ORLEY, VAN (i), (2)), Jan II van Coninxloo was not influenced by Italian Renaissance conventions. Possibly his earliest work is a diptych with the inscription 1514 Jan van Coninxloo brussel, from a Brussels altarpiece showing the Youth and Passion of Christ (Sweden, Jäder priv. col.). Only five other works survive: two early commissions, the panels of the altarpiece of the Holy Family (Vorst, St Denijskerk) and the St Benedict panels (Brussels, Mus. A. Anc.), made for Margaretha I and Margaretha II van Liedekerke respectively; the St Anne triptych (1546); and a pair of signed and monogrammed side panels representing the Feeding of the Five Thousand and Christ in the Temple (both c. 1500; Brussels, Mus. A. Anc.). The figure types in the Vorst altarpiece resemble those in the St Anne triptych even in their expressions. The wings of the Holy Family altarpiece, moreover, show a child identical to one in the Feeding of the Five Thousand. These three pieces also use the same male figure. It seems quite likely that Jan II modelled these types on people he knew; two related male figures in three-quarter view—the pose in which artists often depict themselves—may be self-portraits. According to Vanaise, Jan II moved to Antwerp in 1552.
Part of the Coninxloo, van (i) family
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