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giovanni boldini
new20/Anthony Van Dyck-575938.jpg
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giovanni_boldini
mk265 consuelo vanderbilt duchess of marlborough and her son lord lvor spencer churchill,1906 .new yopk the metropolitan museum of art,
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hippolyte flandrin
new20/Anthony Van Dyck-858875.jpg
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hippolyte_flandrin
mk265 madame louis antoine de cambourg 1846 detroit institute of arts
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pierre paul prud hon
new20/Anthony Van Dyck-879433.jpg
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pierre_paul_prud_hon
mk265 empress josephine at malmaison 1805-1809 paris musee du louvre
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unknown artist
new20/Anthony Van Dyck-249545.jpg
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unknown_artist
mk265 the waltz c 1800 paris musee carnavalrt
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adrien godefroy
new20/Anthony Van Dyck-865638.jpg
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adrien_godefroy
mk265 after fulchran jean harriet tea a la parisienne the last word ni early nineteenth century good taste c1800 paris musee carnavlet.
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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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