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Susanna Fourment and her Daughter
new3/Dyck, Anthony van_2VRRBh.jpg
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Susanna_Fourment_and_her_Daughter
1620-21
oil on canvas
National Gallery of Art, Washington D.C.
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Family Portrait
new3/Dyck, Anthony van_z99MaK.jpg
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Family_Portrait
1621
oil on canvas
The Hermitage, St. Petersburg
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The Genoese Senator
new3/Dyck, Anthony van_JdTAKk.jpg
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The_Genoese_Senator
1621-23
oil on canvas
Gemäldegalerie, Berlin
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The Genoese Senator's Wife
new3/Dyck, Anthony van_fceU4w.jpg
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The_Genoese_Senator's_Wife
1621-23
oil on canvas
Gemäldegalerie, Berlin
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Lucas van Uffelen
new3/Dyck, Anthony van_CRHeWK.jpg
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Lucas_van_Uffelen
1622
oil on canvas
Herzog-Anton-Ulrich-Museum, Braunchweig
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Dyck,_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; 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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