All Anthony Van Dyck Oil Paintings

Dutch 1599-1641 Anthony Van Dyck Locations Flemish painter and draughtsman, active also in Italy and England. He was the leading Flemish painter after Rubens in the first half of the 17th century and in the 18th century was often considered no less than his match. A number of van Dyck studies in oil of characterful heads were included in Rubens estate inventory in 1640, where they were distinguished neither in quality nor in purpose from those stocked by the older master. Although frustrated as a designer of tapestry and, with an almost solitary exception, as a deviser of palatial decoration, van Dyck succeeded brilliantly as an etcher. He was also skilled at organizing reproductive engravers in Antwerp to publish his works, in particular The Iconography (c. 1632-44), comprising scores of contemporary etched and engraved portraits, eventually numbering 100, by which election he revived the Renaissance tradition of promoting images of uomini illustri. His fame as a portrait painter in the cities of the southern Netherlands, as well as in London, Genoa, Rome and Palermo, has never been outshone; and from at least the early 18th century his full-length portraits were especially prized in Genoese, British and Flemish houses, where they were appreciated as much for their own sake as for the identities and families of the sitters.
 

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Anthony Van Dyck The drunken silenus (mk03) oil on canvas


The drunken silenus (mk03)
The drunken silenus (mk03)
Painting ID::  20498
  1618-20 Oil on canvas,41 3/4x35 5/8"(107x90.5cm) Gemaldegalerie Alte Meister, Staatliche Kunstsammlungen, Dresden
  1618-20 Oil on canvas,41 3/4x35 5/8"(107x90.5cm) Gemaldegalerie Alte Meister, Staatliche Kunstsammlungen, Dresden

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Anthony Van Dyck Susanna and The Elders (mk03) oil on canvas


Susanna and The Elders (mk03)
Susanna and The Elders (mk03)
Painting ID::  20499
  c.1620-22 Oil on canvas, 76 3/8x56 3/4"(194x144.2cm) Alte Pinakothek, Munich
  c.1620-22 Oil on canvas, 76 3/8x56 3/4"(194x144.2cm) Alte Pinakothek, Munich

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Anthony Van Dyck Portrait of an unknown genoese lady (mk03) oil on canvas


Portrait of an unknown genoese lady (mk03)
Portrait of an unknown genoese lady (mk03)
Painting ID::  20500
  1621-22 Oil on canvas.72x48" (183x122cm) Ntional Gallery of Art,Washington.D.C. aNDREW W.Mellon Collection
  1621-22 Oil on canvas.72x48" (183x122cm) Ntional Gallery of Art,Washington.D.C. aNDREW W.Mellon Collection

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Anthony Van Dyck Portrait of prince rupert standing (mk03) oil on canvas


Portrait of prince rupert standing (mk03)
Portrait of prince rupert standing (mk03)
Painting ID::  20501
  1631-32 Oil on canvas,68 7/8x37 5/8(175x95.6cm) Kunsthistorisches Museum Vienna
  1631-32 Oil on canvas,68 7/8x37 5/8(175x95.6cm) Kunsthistorisches Museum Vienna

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Anthony Van Dyck Portrait of queen henrietta maria with sir jeffrey hudson (mk03) oil on canvas


Portrait of queen henrietta maria with sir jeffrey hudson (mk03)
Portrait of queen henrietta maria with sir jeffrey hudson (mk03)
Painting ID::  20502
  1633 Oil on canvas, 86 1/4x53 1/8"(219.1x134.8cm) National Gallery of Art. Washington. D.C. Samuel H,Kress Collection
  1633 Oil on canvas, 86 1/4x53 1/8"(219.1x134.8cm) National Gallery of Art. Washington. D.C. Samuel H,Kress Collection

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     Anthony Van Dyck
     Dutch 1599-1641 Anthony Van Dyck Locations Flemish painter and draughtsman, active also in Italy and England. He was the leading Flemish painter after Rubens in the first half of the 17th century and in the 18th century was often considered no less than his match. A number of van Dyck studies in oil of characterful heads were included in Rubens estate inventory in 1640, where they were distinguished neither in quality nor in purpose from those stocked by the older master. Although frustrated as a designer of tapestry and, with an almost solitary exception, as a deviser of palatial decoration, van Dyck succeeded brilliantly as an etcher. He was also skilled at organizing reproductive engravers in Antwerp to publish his works, in particular The Iconography (c. 1632-44), comprising scores of contemporary etched and engraved portraits, eventually numbering 100, by which election he revived the Renaissance tradition of promoting images of uomini illustri. His fame as a portrait painter in the cities of the southern Netherlands, as well as in London, Genoa, Rome and Palermo, has never been outshone; and from at least the early 18th century his full-length portraits were especially prized in Genoese, British and Flemish houses, where they were appreciated as much for their own sake as for the identities and families of the sitters.

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