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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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Portrait of charles i hunting (mk03)
1635
Oil on canvas,
107 1/8x83 1/2"(272.1x212.1cm)
Musee du Louvre,
Paris.
Painting ID:: 20504
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Portrait_of_charles_i_hunting_(mk03)
1635
Oil on canvas,
107 1/8x83 1/2"(272.1x212.1cm)
Musee du Louvre,
Paris.
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Portrait of the earl of denbigh (mk03)
1633-34
Oil on canvas,
97 1/2x58 1/2" (247.5x148.5cm)
The National Gallery
London
Painting ID:: 20514
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Portrait_of_the_earl_of_denbigh_(mk03)
1633-34
Oil on canvas,
97 1/2x58 1/2" (247.5x148.5cm)
The National Gallery
London
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Portrait of the earl and countess of derby and their daughter (mk03)
c.1636
Oil on canvas,
97x84 1/8"(246.4x213.7cm)
The Frick Collection
New York
Painting ID:: 20515
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Portrait_of_the_earl_and_countess_of_derby_and_their_daughter_(mk03)
c.1636
Oil on canvas,
97x84 1/8"(246.4x213.7cm)
The Frick Collection
New York
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Hilly landscape with trees (mk03)
c.1635-40
Pen and brown ink and gray,blue,and green watercolor washes on white paper,
8 15/16x13"(228x330mm)
Devonshire Collection,
Chatsworth,
Reproduced by permission of the Chatsworth Settlement Trustees
Painting ID:: 20517
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Hilly_landscape_with_trees_(mk03)
c.1635-40
Pen and brown ink and gray,blue,and green watercolor washes on white paper,
8 15/16x13"(228x330mm)
Devonshire Collection,
Chatsworth,
Reproduced by permission of the Chatsworth Settlement Trustees
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James Stuart Duke of Lennox and Richmond (mk05)
Canvas,42 1/4 x 33''(107 x 84 cm)Entered the collection of Louis XIV before 1683
Painting ID:: 20538
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James_Stuart_Duke_of_Lennox_and_Richmond_(mk05)
Canvas,42 1/4 x 33''(107 x 84 cm)Entered the collection of Louis XIV before 1683
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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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