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Anthony Van Dyck Arrest of Christ mk84
11618-20
Madrid,Prado,canvas
344x249cm
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Anthony Van Dyck Portrait of a Member of the Balbi Family mk86
c.1625
Oil on canvas
132.7x120cm
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Anthony Van Dyck Susanna and the Elders mk86
c.1621/22
Oil on canvas
194x144cm
Munich,Bayerische Staats-gemaldersammlungen,Alte Pinkakothek
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Anthony Van Dyck St Martin Dividing his Cloak mk86
c.1618
Oil on panel
171.6x158cm
Zaventem,St Martin
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Anthony Van Dyck Portrait of Maria Louisa de Tassis mk86
c.1630
Oil on canva
130x93.5cm
Vaduz,Funst Liechtensteinische Gemaldegalerie
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Anthony Van Dyck The Count of Arundel and his son Thomans mk86
1636
Oil on canvas
187x162cm
Madrid,Museo del Prado
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Anthony Van Dyck Equestrain Portrait of Charles I mk86
c.1635-1640
Oil on canvas
367x292.1cm
London,National Gallery
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Anthony Van Dyck James Seventh Earl of Derby,His Lady and Child mk29
1632-41
246.2x213.7cm
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Anthony Van Dyck Marchesa Giovanna Cattaneo mk29
1622-27
Oil on canvas
102.6x86.4cm
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Anthony Van Dyck Self-Portrait mk149
Late 1620s-Early 1630s
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Anthony Van Dyck The mystic marriage of the Blessed Hermann Foseph with Mary mk150
1630
Canvas
160x128cm
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Anthony Van Dyck Samson and Delilah mk150
c.1628/30
Canvas
146x254cm
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Anthony Van Dyck Portrait of a young general mk150
c.1624
Canvas
115.5x104cm
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Anthony Van Dyck Nicholas Lanier mk150
c.1632
Canvas
111x87.6cm
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Anthony Van Dyck Facomo de Cachiopin mk150
c.1628/9
Canvas
111x84.5cm
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Anthony Van Dyck Prince Rupert of the Palatinate mk150
c.1631/2
Canvas
175x95.5cm
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Anthony Van Dyck Crowning with Thorns mk156
c.1620
Oil on canvas
223x196cm
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Anthony Van Dyck Self-Portrait mk156
c.1622
Oil on canvas
117x94cm
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Anthony Van Dyck Marchesa Elena Grimaldi,Wife of Marchese Nicola Cattaneo mk156
c.1623
Oil on canvas
242.9x138.5cm
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Anthony Van Dyck King of England at the Hunt mk156
1635
Oil on canvas
266x207cm
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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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