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georges clairin
new21/Anthony Van Dyck-457522.jpg
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georges_clairin
mk265 portrait of sarah bernhardt 1876.paris musee du petit palais.
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paul nadar
new21/Anthony Van Dyck-243327.jpg
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paul_nadar
mk265 photog raph of sarah bernhardt,paris bibliotheque nationale cabinet des estampes.
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sarony
new21/Anthony Van Dyck-366457.jpg
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sarony
mk265 1891 sarah bernhardt paris musee d orsay.
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alfred stevens
new21/Anthony Van Dyck-656867.jpg
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alfred_stevens
mk265 the ducess 1867 williamstown sterling and francine clark art institute.
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james tissot
new21/Anthony Van Dyck-862643.jpg
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james_tissot
mk265 colonel frederick gustavus burnaby 1870 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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