- master Jacob Bas and Wife, Museum, Amsterdam;
Twelve Archers with their Captain (1588), City Hall, ib.—Allgem. d. Biogr., xv. 664; Immerzeel, ii. 105; Kramm, iii. 856; Nagler, Mon., ii. 102.
KEULEN. See Ceulen.
KEY, ADRIAAN THOMASZ, flourished
in Antwerp in 1544-90. Flemish school;
history and portrait painter, nephew of Willem
Key, pupil of Jan Hack; master of Antwerp
guild in 1568. Works: Two altar-wings
with Last Supper, and portrait of Donors
(1575), Museum, Antwerp; Female
Portrait, Van Lerius Collection, ib.; Male
do. (1672), Vienna Museum.—Engerth, Belvedere
Gal., ii. 222; Immerzeel, ii. 106;
Kramm, iii. 859; Nagler, Mon., i. 357; Riegel,
Beiträge, i. 28; ii. 25; Rooses (Reber),
110; Van den Branden, 271.
KEY, WILLEM, born at Breda about
1520, died at Antwerp, June 5, 1568. Flemish
school; history and portrait painter,
pupil of Lambert Lombard at Liège; went
to Antwerp, where he became master of the
guild in 1542, and dean of the academy in
1552. He was the first portrait painter of
prominence at Antwerp after Quinten Massys
and Joos van Cleve, and was called to
Brussels to paint Cardinal Granvella and
the Duke of Alva; while painting the latter's
portrait he accidentally overheard a conversation
regarding the death sentence of Count
Egmont, from which his nerves received
such a shock that he died on the day of
Egmont's execution. Works: Entombment,
Six Collection, Amsterdam; Elderly Man's
Portrait, A Knight of Malta, Portrait of Gillis
Mostaert, Vienna Museum; Male Portrait,
Hermitage, St. Petersburg.—Allgem.
d. Biogr., xv. 692; Engerth, Belvedere,
Gal., ii. 224; Van den Branden, 267.
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KEYSER, NICAISE DE, born at Sandvliet,
near Antwerp, Aug. 26, 1813. History
and genre painter, pupil of Joseph Jacops
(born in 1803), and of Antwerp Academy
under M. J. van Bree; completed his
studies in travels through Italy, France, Germany,
and England; painted at first biblical
subjects, then acquired reputation with battle-pieces,
and finally took up historical
genre. Medals: Great
Gold Medal, Brussels,
1836; Paris, 2d class,
1840, and medals at almost
all exhibitions in
Belgium and Holland;
Order of Leopold, 1839;
Officer, 1855; Bavarian
Order of St. Michael,
1851; Order of Lion,
1844; Commander of
Order of Oaken Crown, 1857; Swedish Order
of the Polar Star; Würtemberg Crown
Order; L. of Honour, 1862. Member of
Brussels (1845) and several other academies.
Having settled at The Hague after
1845, he successfully represented the National
Dutch art-faction in opposition to
Baron Wappers, Director of the Antwerp
Academy, whom he succeeded in that position
in 1855. Works: Filial Love (1833);
Crucifixion (1834); St. Dominick receiving
the Rosary (1835); Battle of the Golden
Spurs in 1302 (1836), Courtray Museum;
The Holy Women at Christ's Tomb (1836);
Battle of Woeringen in 1288 (1839), Brussels
Museum; Roman Pifferari at Siesta
(1840), Kunsthalle, Hamburg; Monk sitting
at Alms Box in a Cloister (1841), New Pinakothek,
Munich; Pietà, Return from Madonna
Festival near Naples, Hans Memling
in St. John's Hospital at Bruges (1841); The
Antiquary (after Walter Scott); The Smith
of Naarden; Italian Robber in Prison preparing
for Death; Battle of Nieuport (1844),
Battle of Séneffe, King of Holland; Peter
of Amiens preaching the First Crusade in
1093 (1845); The Giaour, Death of Maria
de Medici (1845), National Gallery, Berlin;
Rubens painting the Chapeau de Paille
(1847), Margaret of Austria and Maria of
Burgundy visiting Memling at Bruges,
Royal Palace, ib.; Daughter of Jairus, East
and West, King of Würtemberg; Episode
in Massacre of the Innocents (1855), Ghent
Museum; Elizabeth of Hungary distributing
