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Karl in pa hunting
new19/Anthony Van Dyck-339843.jpg
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Karl_in_pa_hunting
mk234
ca 1635-38
266x207cm
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lomellini portrait
new20/Anthony Van Dyck-267625.jpg
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lomellini_portrait
mk247
1626 to 27,oil on canvsa,106x100 in,269x254 cm,national gallery of scotland,edinburgh,uk
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lady elizabeth thimbleby and dorothy,viscountess andover
new20/Anthony Van Dyck-784368.jpg
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lady_elizabeth_thimbleby_and_dorothy,viscountess_andover
mk247
1637,oil on canvas,52x59 in,132x149 cm,national gallery,london,uk
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equestrian porrtait of charles l
new20/Anthony Van Dyck-975759.jpg
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equestrian_porrtait_of_charles_l
mk247
1637 to 38,oil on canvas,144.5x115 in,367x292.1 cm,national gallery,london,uk
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sir anthony dyck
new20/Anthony Van Dyck-673998.jpg
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sir_anthony_dyck
mk265 venitia,lady digby as prudence 1633-1634 london national portrait gallery
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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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