Title: Frans Floris
Content:  decoration of the façade had disappeared. Floris expressed similar ideas in his composition The awakening of the Arts (Museo de Arte de Ponce). In 1547 Floris married Clara Boudewijns and the couple had one daughter and two sons. The sons Frans and Baptist were later trained as artists by their father. Baptist died young while Frans moved to Italy where he had a successful career. Frans Floris was known to be hardworking as is testified by his motto: Als ick werck, dan leef ick: als ick spelen gae, dan sterf ick. This means "When I work, I live: when I play, I die." Van Mander recounts 
Title: Frans Floris
Content:  He was a very skilled portraitist but, possibly because of the lower ranking of portraiture in the hierarchy of pictorial genres, he painted only a few (possibly about 12) portraits. He is still regarded as an innovator of the genre as he introduced a new level of expressiveness and accentuated psychological presence. Floris pioneered two types of images in the late 1540s: expressive portraits of individual sitters and head studies on panels. By 1562, Floris’ distinctive head studies had become a form of authorial performance, which bore witness to his creative genius and the workshop practices that he had imported from Italy. While the head 
Title: Frans Floris
Content:  Frans Floris, Frans Floris the Elder or Frans Floris de Vriendt (17 April 15191 October 1570) was a Flemish painter, draughtsman, print artist and tapestry designer. He is mainly known for his history paintings, allegorical scenes and portraits. He played an important role in the movement in Northern Renaissance painting referred to as Romanism. The Romanists had typically travelled to Italy to study the works of leading Italian High Renaissance artists such as Michelangelo, Raphael and their followers. Their art assimilated these Italian influences into the Northern painting tradition.
Title: Frans Floris
Content:  Comparatively few of his works have survived, possibly because many were destroyed during the iconoclastic destructions in Antwerp in the second half of the sixteenth century. The earliest extant canvas by Floris is the Mars and Venus ensnared by Vulcan in the Gemäldegalerie, Berlin (1547). Frans Floris is mainly known for his altarpieces, compositions with mythological and allegorical themes and to a lesser extent, for his portraits. He played an important role in introducing the genre of mythological and allegorical subject-matter into Flanders. He was one of the first Netherlandish artists to travel to Italy and study the latest developments in art as well as the Classical relics of Rome. The principal contemporary influences were Michelangelo from whom he borrowed the heroic treatment of the nude 
Title: Frans Floris
Content:  Raphael whom he emulated by developing a ‘relief-like’ idiom. Floris did, however, not abandon the traditional Netherlandish technique of oil paint, which allowed him to fuse its detailed, descriptive properties with his radically new visual language, in which embellishments were reduced to a minimum and the nude played a prominent role. Floris’ early work of around 1545 shows most clearly the influence of his Italian sojourn. It shows similarities with the work of other Romanists such as Lambert Lombard and Pieter Coecke van Aelst. Later his style became increasingly monumental. His compositional skills improved in that he showed more skill in the arrangement of the figures. After 1560 his work became more Mannerist and the sculptural handling of the figures gave way to a more painterly 
Title: Frans Floris
Content:  text written at the top and bottom of the frame of the painting. It translates as follows: "As in life there can be nothing happier than a marriage in unison and a bed without discord, there is nothing more pleasant than to see one's offspring in unison enjoy peace with an immaculate mind, 1561”. The painting thus simultaneously served as a memento of the deceased father and an expression of the feelings of togetherness of his descendants. Floris depicts all the members of the family performing and attending a concert of music, which emphasized this notion of 'concordia', i.e. the harmony within the family.
Title: Frans Floris
Content:  ‘de Vriendt’ can, however, still be found in official documents until the late 16th century. Frans' brothers were prominent artists. The most famous one is Cornelis who was an architect and sculptor and was one of the designers of the Antwerp City Hall. Jacob Floris was a painter of stained-glass windows and Jan Floris was a potter. Jan traveled to Spain to practice his art there and died young. Documentary evidence about the life of Frans Floris is scarce. Most of what we know about the youth and training of Frans Floris is based on the early biographer Karel van Mander's biography of the artist. At ten 
Title: Frans Floris
Content:  His palette evolved towards the monochrome. Later he may have been influenced by the school of Fontainebleau as his figures became more elegant and the works more refined. Just like his brother Cornelis was able to exert influence on contemporary architecture across the borders of Flanders through the medium of the Antwerp publishers, Floris’ work found wide circulation through engravings made by the leading Antwerp engravers. Hieronymus Cock, Philip Galle and Cornelis Cort were the principal engravers involved in this effort but others such as Johannes Wierix, Balthazar van den Bos, Pieter van der Heyden, Frans Huys, Dirck Volckertsz. Coornhert and Jan Sadeler I also made engravings after the works of Frans Floris. Floris also made original designs for series of prints engraved in Antwerp.
Title: Floris van Dyck
Content:  with or near his uncle, the brewer Cornelis van Rijck. Like the young Frans Hals and other assistants to Karel van Mander, Floris is not listed with his own entry in that book, though he was already an established painter on his return from Italy. After Karel van Mander's death, Floris joined the Haarlem Guild of St. Luke in 1610 and became dean in 1637. On 11 September 1625 he married for the second time to Cornelia Jansdr. Vlasman and the wealthy Gijsbert Claesz van Campen was his only witness. He was influenced by Osias Beert and Clara Peeters and is considered the inventor of the banketje (banquet still life genre similar to breakfasts, or ontbijtjes), together with Nicolaes Gillis. Besides Nicolaes Gilles, he influenced the painters Floris van Schooten, Pieter Claesz, and Roelof Koets. He died in Haarlem.
Title: Frans Floris
Content:  on any topic’. He also moved in the circle of the leading humanists such as Abraham Ortelius, Christophe Plantin, Lucas de Heere, Lambert Lombard, Dominicus Lampsonius and Hieronymus Cock. This group of intellectuals and artists was the first to develop theories on art and the role of artists in the Low Countries. In 1549 Floris was commissioned by the Antwerp city authorities to design the decorations for the Joyous entry into Antwerp of Charles V of Spain and the Infante Philip. His brother Cornelis designed a palace for him in Antwerp with a façade of blue limestone and with luxurious decorations such as gilded leather wall-coverings in 

Question: What genre is Frans Floris I?
Answer: Northern Renaissance.
Dutch Renaissance architecture.