Otto Marseus van Schrieck

O.T.M.S. respectively O.M.S.; 's' ending at the top with a little bow. These monograms have only been found on drawings.
painter, court painter, draftsman
North Netherlandish
Nijmegen 1619/1620
c. 1619/20
Amsterdam 1678-06/1678-06-22
buried on 22 June 1678 (De Vries 1883)
Family relationships
this field records any family relationship to one or more other artist(s).
His father's name is unknown, his mother was called Maria van Til (died 1664); brother of Evert Marseus van Schrieck. He married Margrita Gijsels (1644-1738) in Amsterdam on 25 April 1664.
See also
In this field, you will find references to names of groups or to the artists that made/make up groups. You may also come across references to other artists if there was/is question of collaboration without a joint name. This is the case, for instance, with artists who rendered parts of works by other artists (such as with P.P Rubens and J. Brueghel I).
Van Aelst was his travel companion. According to Houbraken he worked for Maria de'Medici.
This person/entity in other databases
Biographical information
Active in
  • Parijs 1643 - 1648
    possibly visited the court of Maria de'Medici in Paris, accompanied by Willem van Aelst, between c. 1643-1648 (Steensma 1999, p. 13). It seems that he set out for Italy from Paris in the company of Matthias Withoos, who arrived in Paris from Amersfoort in 1648 (Seelig 2017, p. 32).
  • Napels 1650
    According to Houbraken, Marseus traveled to Napels (Steensma 1999, p. 14). According to Gerson he was in the 1650s in Naples (Gerson 1942, p. 175). He 'possibly also visited Naples, and could have worked in Florence either before or after this' (Seelig 2017, p. 33).
  • Rome 1652 - 1655
    documented in Rome in 1652 in the Vicolo de'Carcioffolli seu Orto di Napoli, together with a painter Giovanni Marino (Hoogewerff 1942) and 1655 (Steensma 1999, p. 14); according to Seelig 2017, p. 23, Marseus may have met the Neapolitan painter Paolo Porpora in Rome and influenced him to paint in his genre. It is certain that he met Samuel Van Hoogstraten here in 1652; and in that year he is mentioned in the 'status animarum' as living in the parish of San Lorenzo in Lucina in the Vicolo dell' Orto di Napoli. Furthermore, one of his paintings is dated 'Fecyt Roma, 'and dated 10 August 1655. He met Willem (Guiglielmo) van Aelst in Rome, but their acquaintance must have been more casual than Houbraken makes out, as van Aelst had to leave Italy rather rashly to avoid contact with the law in 1657 (Seelig 2017, p. 32).
  • Florence 1655 - 1663
    at the court of Ferdinando II de' Medici; returned to the Netherlands before 1663, possibly with Van Aelst in 1657 (Steensma 1999, p. 16); '. .. possibly also visited Naples, and could have worked in Florence either before or after this... the only evidence of Marseus's presence is the number of his paintings in Florentine collections' (Seelig 2017, p. 33). Probably he worked more for Cardinal Gian Franco and Leopoldo de'Medici, for whom also Willem van Aelst worked (Saur 2015 [Seelig].
  • Engeland
    According to Houbraken, Marseus traveled to England (Thieme/Becker 1930); possibly before his return to the Netherlands in 1663. According to Seelig 2017, p. 32, there is no clear evidence for any English sojourn. However, Houbraken derived the information on the artist directly from his widow.
  • Amsterdam 1663 - 1678
    Marseus probably left Rome because of a 'cancerous growth in his eye', which threatened his career. He was cured from it by an Italian physician called Giuseppe Francesco Borri, who had fled Italy and the Inquisition, arriving in Amsterdam in 1660. Borri also had to leave Amsterdam to flee his creditors in 1665 (Seelig 2017, p. 35). He also met with Cosimo III de'Medici in Amsterdam in 1667 (Steensma 1999, p. 19); he sold a piece of land to the city of Amsterdam (Obreen vol. 5 [1882-1883], p. 15); here he was visited by Balthasar de Monconys, his son and Albert, Duc d'Albret, in August 1663 for a week between 20-27 August 1663, during which time Marseus served as their guide, visiting artists, collectors, scientist and art dealers (Seelig 2017, p. 28-31).
born in
active in
died in
This field specifies the various subject categories or genres that constitute the oeuvre of the artist in question. The contents of this field are generally based more on the documentation available at the RKD than on the literature.
still life, flower piece, forest still life, animal painting (genre), vanitas (still life), fish piece
oil paint
Member of
Creation date: 1992-01-18; Last modified date: 2022-05-31


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