Frans de Momper

Frans de Momper (17 October 1603 - 1660) was a Flemish landscape painter who, after training in Antwerp, worked for a while in the Dutch Republic. Here he was exposed to the work of Dutch landscape painters such as Jan van Goyen. His later paintings prefigure the imaginative landscapes of Hercules Segers.

Frans de Momper was born in Antwerp as the son of the landscape painter Jan de Momper II. The de Momper family was a prominent family of landscape painters and printmakers, originally from Bruges, which had settled in Antwerp in the 16th century. His brother Philips de Momper the Younger would also become a painter. He was a nephew of the prominent landscape painter Joos de Momper.

Frans de Momper was registered as a master at the Antwerp Guild of Saint Luke in 1629. He remained active in Antwerp until he moved to work in the Dutch Republic. He is first recorded in The Hague in 1647. He was in 1648 in Haarlem where in that year he became a member of the local Guild of Saint Luke. He is recorded in Amsterdam in the period 1649-1650. The artist had returned to Antwerp by 1650 where he remained active.

Frans de Momper died in Antwerp in 1660.

Frans de Momper was a painter and draughtsman of landscapes including winter landscapes, beach landscapes, river landscapes, rural scenes and views of cities.

His early works were in the style of his uncle Joos de Momper and the de Momper workshop. This style was derived from the Brueghel tradition of landscape paintings offering a wide, panoramic view with figures but de Momper's paintings used a lower perspective. Because of the similarity in style, works by Frans de Momper have repeatedly been attributed to his better known uncle Joos de Momper. Even so, Frans' style distinguished itself early on from that of his uncle through its more painterly manner. This painterly approach only appears in his uncle's late work. Frans applied the brushstrokes in an even manner, not altering the character of his brushwork irrespective of whether he was rendering people, buildings or trees. As a result his compositions create a pronouncedly homogenous impression, since no specific elements are emphasized and each detail remains subordinated to the work’s overall painterly impression.

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