Гхераертс: Діни қудалаудан қашқан суретшінің өмірі мен шығармашылығы

Gheeraerts was further commissioned in 1561 to make a print depicting a map of his hometown. He completed the work in one year. The map is one of the earliest examples of a perspective city map that is correctly displayed. Inside the gaping mouth a diabolical mass is celebrated. On the pâté of the head sits a pope like figure under a canopy on a throne surrounded by bishops and monks. Indulgences and rosaries are pinned up on the staves and various rituals and processions take place and are labelled with letters. In the foreground Protestant iconoclasts are smashing altarpieces, religious sculptures, other church related items and hurling them into a fire. The print is a condemnation of Catholic idolatry in all its forms and shows the Calvinists as cleansing the world of this perceived evil.]] Fearing that he would be condemned to death in the criminal proceedings against him, Gheeraerts fled in 1568 to England with his son Marcus and his workshop assistant Philipus de la Valla. His wife and daughter remained in Bruges. The verdict in his case was pronounced at the end of 1568. He was convicted and the punishment was permanent banishment and forfeiture of his entire fortune. Gheeraerts took up residence in London upon his arrival in England in 1568. He was joined by his daughter in May 1571 likely after her mother had died. After the death of his wife in Bruges, the artist married in England his second wife, Sussanah de Critz. His wife was a sister of Queen Elizabeth I's serjeant painter, John de Critz, another Flemish painter who had fled to England. The couple had two daughters and one son. The only child surviving into adulthood, Sarah, later married the famous French born English limner Isaac Oliver. Just as before in Bruges, Gheeraerts made drawings and etchings and continued his painting activities. As there was a keen demand for portrait paintings in England, Gheeraerts started to paint portraits, which he had not done while still in Flanders.

Very few paintings have been attributed to Gheeraerts with much certainty. He did not sign any of his paintings. It is documented that he finished the triptych of the Passion of Christ that had been commenced by the prominent painter Bernard van Orley. The triptych was later damaged during the period of Iconoclasm and largely repainted in 1589 by Frans Pourbus the Younger during restoration work. It is not clear from the current state of the work, which parts were painted by which painter. It has been suggested that Bernard van Orley started the centre of the panel and that Marcus Gheeraerts completed the outer areas. A replica of the scene of The lamentation of Christ appeared on the art market (Hampel Fine Art sale of 27 June 2019, lot 551) and was attributed to Gheeraerts. Another version of the Lamentation also attributed to Gheeraerts is in the Saint Amands Church of Geel. The panel of the Triumphant Christ (Memling museum in Old St. John's Hospital in Bruges) has been attributed to Marcus Gheeraerts. The Lazarus and the rich man (Catharijneconvent Museum in Utrecht) has been attributed to Gheeraerts but this attribution is not uncontested. An inscription on the first painting indicates it was painted on commission by the Flemish merchant Jacob Hoefnagel, a brother of Joris Hoefnagel and a resident of London. The inscription also mentions that Jacob Hoefnagel wanted the picture to depict all the fashions that could be seen in England. Gheeraerts followed this instruction by depicting the figures in costumes from England, France, Venice and other European countries. These costumes were based on a publication depicting various costumes compiled and illustrated by Flemish émigré artist Lucas de Heere. It is believed both paintings depict marriage celebrations. The location of the Fête is the river bank of the Thames while the Festival is placed in an imaginary landscape. In both paintings, a procession is moving from right to left headed by two men carrying large oval cakes, two violinists and a man bearing a vase with rosemary tied with ribbons. The faces of the figures are rendered with precision and are likely portraits of members of the Flemish community in England. The paintings may have been intended to showcase the dignity and piety of the Flemish émigré community in England and to assert their proper place in their adopted country. It is believed that the man looking at the viewer appearing in both paintings is a self portrait of the artist Gheeraerts. [[File:Marcus Gheeraerts I The unfortunate painter and his family. jpg|thumb|300px|The unfortunate painter and his family, 1577

Reginald Lane Poole (Mrs.): Marcus Gheeraerts, Father and Son, Painters, The Walpole Society, 3 (1914), 1–8. Arthur Ewart Popham: The etchings of Marcus Gheeraerts the Elder, Print Collector's Quarterly, 15 (1928), 187–200. Albert Schouteet, De zestiende eeuwsche schilder en graveur Marcus Gerards, Bruges, Druk. A. & L. Fockenier 1941. Edward Hodnett: Marcus Gheeraerts the Elder of Bruges, London, and Antwerp, Utrecht (Haentjens Dekker & Gumbert) 1971. William B. Ashworth: Marcus Gheeraerts and the Aesopic connection in seventeenth century scientific illustration, Art Journal', 44 (1984), 132–138. Eva Tahon: Marcus Gheeraerts the Elder, in: M. P. J. Martens (red. ), Bruges and the Renaissance: Memling to Pourbus, Bruges (Stichting Kunstboek / Ludion) 1998, 231–238. Mikael Lytzau Forup: 125 fabler med illustrationer af Marcus Gheeraerts den Ældre [Danish: 125 fables with illustrations by Marcus Gheeraerts the Elder], Odense (University Press of Southern Denmark) 2007. (The book features Gheeraerts' entire Aesop series of 125 fable illustrations and 3 title pages.)