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Self-Portrait
new3/Dyck, Anthony van_Vd5Jjt.jpg
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Self-Portrait
Approx. 1622
oil on canvas
The Hermitage, St. Petersburg
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Marchesa Cattaneo with a Servant
new3/Dyck, Anthony van_qdNqKp.jpg
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Marchesa_Cattaneo_with_a_Servant
1623
oil on canvas
National Gallery of Art, Washington D.C.
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Nicholas Lanier
new3/Dyck, Anthony van_K6yL2C.jpg
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Nicholas_Lanier
1628
oil on canvas
Art History Museum, Vienna
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Genoese Noblewoman with her Son
new3/Dyck, Anthony van_gKTYt2.jpg
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Genoese_Noblewoman_with_her_Son
1626
oil on canvas
National Gallery of Art, Washington D.C.
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Charles Iwith Monsieur de St Antoine (mk25)
new8/Dyck, Anthony van-549387.jpg
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Charles_Iwith_Monsieur_de_St_Antoine_(mk25)
1633
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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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