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Oil Paintings Come From United Kingdom
An option that you can own an 100% hand-painted oil painting from our talent artists.

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 Edward Knowles oil painting

Painting ID::  96390

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Anthony Van Dyck
Edward Knowles
oil on canvas 114.5 x 94 cm cyf
   
   
     

 

 

Anthony Van Dyck Portrait of a Man oil painting

Painting ID::  96532

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Anthony Van Dyck
Portrait of a Man
circa 1619(1619) Medium oil on canvas Dimensions 199 X 126 cm cyf
   
   
     

 

 

Anthony Van Dyck An Apostle with Folded Hands oil painting

Painting ID::  96543

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Anthony Van Dyck
An Apostle with Folded Hands
1618-20 Medium oil on panel cyf
   
   
     

 

 

Anthony Van Dyck Lady Dacre oil painting

Painting ID::  96754

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Anthony Van Dyck
Lady Dacre
Oil on Canvas. 50 x 40 in. (132 x 105.5 cm). Date 1633(1633) cyf
   
   
     

 

 

Anthony Van Dyck St Jerome oil painting

Painting ID::  96981

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Anthony Van Dyck
St Jerome
Oil on canvas Dimensions 215 x 195 cm cyf
   
   
     

 

 

Anthony Van Dyck Portrait of the one armed painter Marten Rijckaert oil painting

Painting ID::  97005

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Anthony Van Dyck
Portrait of the one armed painter Marten Rijckaert
circa 1630(1630) Medium oil on canvas Dimensions 138 X 114 cm cyf
   
   
     

 

 

Anthony Van Dyck Portrait of William Russell oil painting

Painting ID::  97178

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Anthony Van Dyck
Portrait of William Russell
1640 Medium oil on canvas Dimensions 103 X 82.5 cm cyf
   
   
     

 

 

Anthony Van Dyck Christ supported by angels oil painting

Painting ID::  97535

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Anthony Van Dyck
Christ supported by angels
1640-1650 Medium oil on canvas cyf
   
   
     

 

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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.