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Anthony Van Dyck
duchess doria,
1625
paris, louvre
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Anthony Van Dyck
lord denbigh in pyiamas,
1633
london, the national gallery
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Anthony Van Dyck
henrietta of lorraine
1634
by permission of the trustees of the iveagh bequest,kenwood, london
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Anthony Van Dyck
Amor und Psyche
c. 1638
Oil on canvas
198 x 190 cm
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Anthony Van Dyck
Ruhe auf der Flucht nach Agypten
c. 1630
135 x 115 cm (53.15 x 45.28 in)
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Anthony Van Dyck
Herr von Ravels
Technique Oil on canvas
Dimensions Deutsch: 213 X 120 cm
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Anthony Van Dyck
Geharnischten mit roter Armbinde
Technique Oil on canvas
Dimensions 90 X 70 cm
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Anthony Van Dyck
Selbstportrat
81 ?? 70 cm
1st third of 17th century
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Anthony Van Dyck
Bildnis des Schlachtenmalers Pieter Snayers
1st third of 17th century
Deutsch: 29 ?? 21 cm
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Anthony Van Dyck
Portrat des Philippe Le Roy, Herr von Ravels
1630(1630)
Oil on canvas
Deutsch: 213 ?? 120 cm
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Anthony Van Dyck
cardinal guido
bentivoglio 1622-3 oil on canvas 196x145cm
se
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Anthony Van Dyck
den helige hieronymus
olja på duk 167x154
se
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Anthony Van Dyck
Portrait of a Lady
oil on canvs painting , El Paso Museum of Art
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Anthony Van Dyck
Ruhe auf der Flucht nach Agypten
Medium Oil on canvas
Dimensions 0135 X 115 cm
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Anthony Van Dyck
Amor und Psyche
Medium Oil on canvas
Dimensions Expression error: Missing operand for *198 ?? 190 cm
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Anthony Van Dyck
Martyrium des Heiligen Sebastian
Medium Oil on canvas
Dimensions Expression error: Missing operand for *199 ?? 158 cm
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Anthony Van Dyck
Selbstportrat
Medium Oil on canvas
Dimensions Deutsch: 81 ?? 70 cm
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Anthony Van Dyck
Bildnis des Schlachtenmalers Pieter Snayers
Dimensions Deutsch: 29 x 21 cm
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Anthony Van Dyck
Herr von Ravels
Medium Oil on canvas
Dimensions Deutsch: 213 x 120 cm
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Anthony Van Dyck
Portrat eines Geharnischten mit roter Armbinde
1st third of 17th century
Oil on canvas
90 X 70 cm (35.43 X 27.56 in)
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| Anthony Van Dyck
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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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