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Prince Rupert of the Palatinate
new12/Anthony Van Dyck-624333.jpg
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Prince_Rupert_of_the_Palatinate
mk150
c.1631/2
Canvas
175x95.5cm
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Crowning with Thorns
new16/Anthony Van Dyck-555743.jpg
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Crowning_with_Thorns
mk156
c.1620
Oil on canvas
223x196cm
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Self-Portrait
new16/Anthony Van Dyck-775382.jpg
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Self-Portrait
mk156
c.1622
Oil on canvas
117x94cm
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Marchesa Elena Grimaldi,Wife of Marchese Nicola Cattaneo
new16/Anthony Van Dyck-937832.jpg
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Marchesa_Elena_Grimaldi,Wife_of_Marchese_Nicola_Cattaneo
mk156
c.1623
Oil on canvas
242.9x138.5cm
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King of England at the Hunt
new16/Anthony Van Dyck-395449.jpg
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King_of_England_at_the_Hunt
mk156
1635
Oil on canvas
266x207cm
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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.
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