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Dyck, Anthony van
Portrait of one Mr.Brignole
mk157
1621-25
Oil on canvas
205x125cm
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Dyck, Anthony van
Portrait of James Stuart,Duke of Richmond and Fourth Duke of Lennox
mk161
oil on canvas
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Dyck, Anthony van
Detail of the Rest on the Flight into Egypt
nn09
c.1630
Oil on canvas
215x285.5cm
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Dyck, Anthony van
mit Zwerg Sir Jeffrey Hudson
1633(1633)
Medium Oil on canvas
Dimensions Deutsch: 220 ?? 135 cm
cyf
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Dyck, Anthony van
Gastons de Bourbon
Date 1634(1634)
Medium Deutsch: Öl auf Leinwand
English: oil on canvas
Français : huile sur toile
cyf
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Dyck, Anthony van
Portrait of Venetia, Lady Digby
1633-1634
Medium Oil on canvas
Dimensions 101.1 x 80.2 cm (39.8 x 31.6 in)
cyf
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Dyck, Anthony van
Portrat der Marchesa Balbi
ca. 1625(1625)
Medium Oil on canvas
Dimensions 183 x 122 cm (72 x 48 in)
cyf
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Dyck, Anthony van
Portrat der Elisabeth oder Theresia Shirley in orientalischer Kleidung
1622(1622)
Medium Oil on canvas
cyf
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Dyck, Anthony van
Mary Stewart
ca. 1636(1636)
Medium Oil
cyf
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Dyck, Anthony van
Portrat Karl des I
1635-1636
Medium Oil on canvas
Dimensions 85 x 100 cm
cyf
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Dyck, Anthony van
Selbstportrat als Paris
1628
Medium Oil on canvas
Dimensions 96 x 84 cm (37.8 x 33.1 in)
cyf
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Dyck, Anthony van
Probably portrait of James II
Oil on panel Öl auf Holz
Dimensions 31 x 26 cm (12.2 x 10.2 in)
cyf
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Dyck, Anthony van
James Hay
oil on canvas
204.5 x 126 cm
Date c. 1638
cyf
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Dyck, Anthony van
Caesar Alexander Scaglia
1634(1634)
Medium Oil on canvas
Dimensions 189 x 110 cm (74.4 x 43.3 in)
cyf
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Dyck, Anthony van
Portrait of Maria Luiza Panasco
circa 1843(1843)
Medium oil on canvas
Dimensions 81.6 X 65.2 cm
cyf
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| Dyck, 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; and from at least the early 18th century his full-length portraits were especially prized in Genoese, British and Flemish houses,
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