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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. |
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DYCK, Sir Anthony Van Flemish Baroque Era Painter, 1599-1641
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's studies in oil of characterful heads were included in Rubens's 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;
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DYCK, Sir Anthony Van Portrait of Porzia Imperiale and Her Daughter fg c. 1628
Oil on canvas, 184,5 x 134 cm
Mus??es Royaux des Beaux-Arts, Brussels
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DYCK, Sir Anthony Van Christ on the Cross dfg Oil on canvas
Sint-Jacobskerk, Antwerp
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DYCK, Sir Anthony Van Crowning with Thorns fdg 1618-20
Oil on canvas, 223 x 196 cm
Museo del Prado, Madrid
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DYCK, Sir Anthony Van Cupid and Psyche df 1639-40
Oil on canvas, 199,4 x 191,8 cm
Royal Collection, Windsor
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DYCK, Sir Anthony Van Deposition gh25 1634
Oil on panel
Alte Pinakothek, Munich
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DYCK, Sir Anthony Van Golgotha gjk 1630
Oil on canvas
Sint-Michielskerk, Ghent
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DYCK, Sir Anthony Van Blessed Joseph Hermann g 1629
Oil on canvas, 160 x 128 cm
Kunsthistorisches Museum, Vienna
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DYCK, Sir Anthony Van Jupiter and Antiope dfg Oil on canvas, 150 x 206 cm
Museum voor Schone Kunsten, Ghent
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DYCK, Sir Anthony Van The Lamentation of Christ fg Oil on canvas, 115 x 208 cm
Koninklijk Museum voor Schone Kunsten, Antwerp
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DYCK, Sir Anthony Van St Martin Dividing his Cloak f c. 1618
Oil on panel, 171,6 x 158 cm
St Martin, Zaventem
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DYCK, Sir Anthony Van St George and the Dragon dfg Oil on canvas
Sint-Jacobskerk, Antwerp
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DYCK, Sir Anthony Van Studies of a Man s Head Oil on panel, 53 x 98 cm
Rockox House, Antwerp
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DYCK, Sir Anthony Van Susanna and the Elders dfg 1621-22
Oil on canvas, 194 x 144 cm
Alte Pinakothek, Munich
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DYCK, Sir Anthony Van St. Mary's Church at Rye, England 1634
Pen drawing
Galleria degli Uffizi, Florence
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DYCK, Sir Anthony Van Nicolaas Rockox dsws Drawing
Royal Collection, Windsor
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DYCK, Sir Anthony Van Charles I (mk25) 1636
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DYCK, Sir Anthony Van Equestrian Portrait of Charles I, King of England 1635-40
Oil on canvas, 123 x 85 cm
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DYCK, Sir Anthony Van Diana Cecil, Countess of Oxford 1638
Oil on canvas, 107 x 86 cm
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DYCK, Sir Anthony Van
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Flemish Baroque Era Painter, 1599-1641
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's studies in oil of characterful heads were included in Rubens's 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;
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