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 Prince Charles Louis Elector Palatine oil painting


Prince Charles Louis Elector Palatine
1637(1637) Medium Oil on canvas Dimensions 213.7 x 132.4 cm (84.1 x 52.1 in) cyf
Painting ID::  80513 		Anthony Van Dyck
Prince Charles Louis Elector Palatine
1637(1637) Medium Oil on canvas Dimensions 213.7 x 132.4 cm (84.1 x 52.1 in) cyf
   
   
     
Anthony Van Dyck The Lamentation over the Dead Christ oil painting


The Lamentation over the Dead Christ
Date ca. 1629(1629) Medium Oil on canvas Dimensions 303 x 225 cm (119.3 x 88.6 in) cjr
Painting ID::  80609 		Anthony Van Dyck
The Lamentation over the Dead Christ
Date ca. 1629(1629) Medium Oil on canvas Dimensions 303 x 225 cm (119.3 x 88.6 in) cjr
   
   
     
Anthony Van Dyck Portrait of Mary Villiers oil painting


Portrait of Mary Villiers
1638(1638) Medium Oil cyf
Painting ID::  80756 		Anthony Van Dyck
Portrait of Mary Villiers
1638(1638) Medium Oil cyf
   
   
     
Anthony Van Dyck Study of a Bearded Man with Hands Raised oil painting


Study of a Bearded Man with Hands Raised
oil on canvas painting by Sir Anthony Van Dyck, c. 1616 Date c. 1616 cyf
Painting ID::  81229 		Anthony Van Dyck
Study of a Bearded Man with Hands Raised
oil on canvas painting by Sir Anthony Van Dyck, c. 1616 Date c. 1616 cyf
   
   
     
Anthony Van Dyck James Hay, 2nd Earl of Carlisle oil painting


James Hay, 2nd Earl of Carlisle
oil on canvas 204.5 x 126 cm Date c. 1638 cjr
Painting ID::  81296 		Anthony Van Dyck
James Hay, 2nd Earl of Carlisle
oil on canvas 204.5 x 126 cm Date c. 1638 cjr
   
   
     
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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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