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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.
Anthony Van Dyck Self Portrait_nn Pinakothek, Munich
Painting ID:: 1068
X
Anthony Van Dyck Portrait of a Gentleman 1624
Pinakothek, Munich
Painting ID:: 1070
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Anthony Van Dyck Emperor Charles V 1620
Galleria degli Uffizi, Florence
Painting ID:: 1073
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Anthony Van Dyck An Alchemist 1661 National Gallery, London
Painting ID:: 1074
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Anthony Van Dyck Interior with Peasants 1663 Wallace Collection, London
Painting ID:: 1075
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Anthony Van Dyck Deposition_m 1634
Pinakothek, Munich
Painting ID:: 1076
X
Anthony Van Dyck Portrait of Jean de Montfort 1628
Galleria degli Uffizi, Florence
Painting ID:: 1080
X
Anthony Van Dyck Portrait of a Man11 1622
Metropolitan Museum of Art, New York
Painting ID:: 1082
X
Anthony Van Dyck Samson and Delilah7 1627-32
Art History Museum, Vienna
Painting ID:: 1084
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Anthony Van Dyck James Stewart, Duke of Richmond and Lennox Metropolitan Museum of Art, New York
Painting ID:: 1087
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Anthony Van Dyck Family Portrait_5 1621
The Hermitage, St.Petersburg
Painting ID:: 1088
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Anthony Van Dyck Marchesa Elena Grimaldi 1623
The National Gallery of Art, Washington DC
Painting ID:: 1089
X
Anthony Van Dyck Portrait of the Painter Cornelis de Wael_3
Painting ID:: 1092
X
Anthony Van Dyck Soldier on Horseback
Painting ID:: 20497
X
Anthony Van Dyck The expulsion of adam and eve from the garden of eden (mk03) 1621
Oil on buff paper,laid down,
7x6 3/4"(178x172mm)
National Gallery of Canada,Ottawa
Painting ID:: 20498
X
Anthony Van Dyck The drunken silenus (mk03) 1618-20
Oil on canvas,41 3/4x35 5/8"(107x90.5cm)
Gemaldegalerie Alte Meister,
Staatliche Kunstsammlungen,
Dresden
Painting ID:: 20499
X
Anthony Van Dyck Susanna and The Elders (mk03) c.1620-22
Oil on canvas,
76 3/8x56 3/4"(194x144.2cm)
Alte Pinakothek,
Munich
Painting ID:: 20500
X
Anthony Van Dyck Portrait of an unknown genoese lady (mk03) 1621-22
Oil on canvas.72x48" (183x122cm)
Ntional Gallery of Art,Washington.D.C.
aNDREW W.Mellon Collection
Painting ID:: 20501
X
Anthony Van Dyck Portrait of prince rupert standing (mk03) 1631-32
Oil on canvas,68 7/8x37 5/8(175x95.6cm)
Kunsthistorisches Museum
Vienna
Painting ID:: 20502
X
Anthony Van Dyck Portrait of queen henrietta maria with sir jeffrey hudson (mk03) 1633
Oil on canvas,
86 1/4x53 1/8"(219.1x134.8cm)
National Gallery of Art.
Washington.
D.C.
Samuel H,Kress Collection
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.
