DAVID, the Elder, a Flemish painter, born at Antwerp in 1582. He received the first rudiments of his art from the famous Rubens, who highly esteemed him for his promising genius, and with great satisfaction examined and commended his designs. From the school of that celebrated painter Teniers went to finish his studies at Rome. He attached himself to Adam Elsheimer for five years; and from the instructions of two such incomparable masters, he formed to himself a peculiar style, which his son cultivated so happily afterward as to bring it to the utmost perfection. His pictures were small; and his subjects usually shops, laboratories, humorous conversations, and rural festivities. The demand for his pieces was universal; and even his master Rubens thought them an ornament to his cabinet. He died at Antwerp in 1640.

David, the Younger, also an admirable painter, was the son of the former, and was born at Antwerp in 1610. He obtained the name of Ape of Painting, from his imitating the manner of different painters with such exactness as to deceive even the nicest judges. He improved greatly under his father, and obtained such reputation as introduced him to the favour of the great. The archduke Leopold William made him gentleman of his bedchamber; and all the pictures of his gallery were copied by Teniers, and engraved by his direction. The king of Spain and Don Juan of Austria set so high a value on his pictures, that they built a gallery on purpose for them. William prince of Orange honoured him with his friendship; and Rubens not only esteemed his works, but assisted him with his advice. His principal talent lay in landscapes, adorned with small figures. He also painted men drinking and smoking, chemists laboratories, country fairs, and the like. His small figures are superior to his large ones. He died in 1664.

The works of the father and son are thus distinguished: The latter discover a finer touch and freer pencil, greater variety of attitudes, and a better disposition of the figures. The father retained something of the tone of Italy in his colouring, which was stronger than the son's; besides, the son used to put at the bottom of his pictures, David Teniers, junior.

Abraham, another son of David the Elder, was equal, if not superior, to his father and brother in the expression of his characters, and his understanding the claro obscurio; though he was inferior in the sprightliness of his touch, and the lightness of his pencil.