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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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Charles I King of England Hunting (mk05)
Canvas,104 1/2 x 81 1/2''(266 x 207 cm)Commissioned by the King not later than 1635;paid for in 1638 Acquired by Louis XVI in 1775 Inv 1236
Painting ID:: 20541
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Charles_I_King_of_England_Hunting_(mk05)
Canvas,104 1/2 x 81 1/2''(266 x 207 cm)Commissioned by the King not later than 1635;paid for in 1638 Acquired by Louis XVI in 1775 Inv 1236
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The Virgin and Child with Donors (mk05)
Canvas 98 1/2 x 75 1/4''(250 x 191 cm);22 1/2''(57.5 cm)at the top of the picture are a later additi8on Acquired by Louis XIV in 1685
Painting ID:: 20544
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The_Virgin_and_Child_with_Donors_(mk05)
Canvas 98 1/2 x 75 1/4''(250 x 191 cm);22 1/2''(57.5 cm)at the top of the picture are a later additi8on Acquired by Louis XIV in 1685
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Presumed Portrait of the Marchesa Geromina Spinola-Doria of Genoa (mk05)
Canvas 94 x 67''(239 x 170 cm)Received in 1949
Painting ID:: 20547
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Presumed_Portrait_of_the_Marchesa_Geromina_Spinola-Doria_of_Genoa_(mk05)
Canvas 94 x 67''(239 x 170 cm)Received in 1949
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Venus Asking Vulcan for Arms for Aeneas (mk05)
Canvas,86 1/2 x 57''(220 x 145 cm);20''(51 cm)at the top of the picture are a later addition Entered the collection of Louis XIV between 1684 and 1715 INV
Painting ID:: 20555
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Venus_Asking_Vulcan_for_Arms_for_Aeneas_(mk05)
Canvas,86 1/2 x 57''(220 x 145 cm);20''(51 cm)at the top of the picture are a later addition Entered the collection of Louis XIV between 1684 and 1715 INV
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Portrait of a Member of the Balbi Family (mk08)
c.1625
Oil on canvas
132.7x120cm
Cincinnati,Cincinnati Artf Museum
Painting ID:: 21689
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Portrait_of_a_Member_of_the_Balbi_Family_(mk08)
c.1625
Oil on canvas
132.7x120cm
Cincinnati,Cincinnati Artf Museum
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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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