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 Charles I King of England Hunting (mk05) oil


Charles I King of England Hunting (mk05)
Painting ID::  20541
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
   
   
     

Anthony Van Dyck The Virgin and Child with Donors (mk05) oil


The Virgin and Child with Donors (mk05)
Painting ID::  20544
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
   
   
     

Anthony Van Dyck Presumed Portrait of the Marchesa Geromina Spinola-Doria of Genoa (mk05) oil


Presumed Portrait of the Marchesa Geromina Spinola-Doria of Genoa (mk05)
Painting ID::  20547
Presumed Portrait of the Marchesa Geromina Spinola-Doria of Genoa (mk05)
Canvas 94 x 67''(239 x 170 cm)Received in 1949
Canvas_94_x_67''(239_x_170_cm)Received_in_1949
   
   
     

Anthony Van Dyck Venus Asking Vulcan for Arms for Aeneas (mk05) oil


Venus Asking Vulcan for Arms for Aeneas (mk05)
Painting ID::  20555
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
   
   
     

Anthony Van Dyck Portrait of a Member of the Balbi Family (mk08) oil


Portrait of a Member of the Balbi Family (mk08)
Painting ID::  21689
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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