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 Self portrait, oil painting


Self portrait,
Self-portrait, 1613-14.
Painting ID::  61251 		Anthony Van Dyck
Self portrait,
Self-portrait, 1613-14.
   
   
     
Anthony Van Dyck Genoan hauteur from the Lomelli family, oil painting


Genoan hauteur from the Lomelli family,
Genoan hauteur from the Lomelli family, 1623
Painting ID::  61252 		Anthony Van Dyck
Genoan hauteur from the Lomelli family,
Genoan hauteur from the Lomelli family, 1623
   
   
     
Anthony Van Dyck The more intimate, but still elegant style he developed in England, oil painting


The more intimate, but still elegant style he developed in England,
The more intimate, but still elegant style he developed in England, ca 1638
Painting ID::  61254 		Anthony Van Dyck
The more intimate, but still elegant style he developed in England,
The more intimate, but still elegant style he developed in England, ca 1638
   
   
     
Anthony Van Dyck King Charles I oil painting


King Charles I
King Charles I, ca. 1635 Louvre - see text
Painting ID::  61255 		Anthony Van Dyck
King Charles I
King Charles I, ca. 1635 Louvre - see text
   
   
     
Anthony Van Dyck Samson and Delilah, oil painting


Samson and Delilah,
Samson and Delilah, ca. 1630. A strenuous history painting in the manner of Rubens; the saturated use of color reveals van Dyck's study of Titian.
Painting ID::  61260 		Anthony Van Dyck
Samson and Delilah,
Samson and Delilah, ca. 1630. A strenuous history painting in the manner of Rubens; the saturated use of color reveals van Dyck's study of Titian.
   
   
     
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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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