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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Anthony Van Dyck Henrietta Maria and the dwarf, Sir Jeffrey Hudson, oil


Henrietta Maria and the dwarf, Sir Jeffrey Hudson,
Painting ID::  61262
Henrietta Maria and the dwarf, Sir Jeffrey Hudson,
Henrietta Maria and the dwarf, Sir Jeffrey Hudson, 1633
Henrietta_Maria_and_the_dwarf,_Sir_Jeffrey_Hudson,_1633
   
   
     

Anthony Van Dyck This triple portrait of King Charles I was sent to Rome for Bernini to model a bust on oil


This triple portrait of King Charles I was sent to Rome for Bernini to model a bust on
Painting ID::  61263
This triple portrait of King Charles I was sent to Rome for Bernini to model a bust on
This triple portrait of King Charles I was sent to Rome for Bernini to model a bust on
   
   
     

Anthony Van Dyck Self Portrait oil


Self Portrait
Painting ID::  61265
Self Portrait
"Self Portrait", ca. 1621 Alte Pinakothek
"Self_Portrait",_ca._1621_Alte_Pinakothek
   
   
     

Anthony Van Dyck Elena Grimaldi, Genoa oil


Elena Grimaldi, Genoa
Painting ID::  61266
Elena Grimaldi, Genoa
Elena Grimaldi, Genoa 1623
Elena_Grimaldi,_Genoa_1623
   
   
     

Anthony Van Dyck Marie Louise de Tassis, Antwerp 1630 oil


Marie Louise de Tassis, Antwerp 1630
Painting ID::  61267
Marie Louise de Tassis, Antwerp 1630
Marie-Louise de Tassis, Antwerp 1630
Marie-Louise_de_Tassis,_Antwerp_1630
   
   
     

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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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