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john singer sargent
new21/Anthony Van Dyck-789432.jpg
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john_singer_sargent
mk265 lady agnew of lochnaw 1892 edinburgh national gallery of scotand.
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john singer sargent
new21/John Singer Sargent-868957.jpg
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john_singer_sargent
mk265 the acheson sisters 1902 devonshire collection the duke of devonshire and the trustees of the chatsworth settlement.
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johnsinger sargent
new21/Anthony Van Dyck-748548.gif
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johnsinger_sargent
mk265 the family of the duke of marlborough. 1904-1905 collection of his grace the duke of mar lborough blenheim palace oxfordshire.
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blenheim palace
new21/Anthony Van Dyck-929279.jpg
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blenheim_palace
mk265 the facade.
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philip de laszlo
new21/Anthony Van Dyck-374245.jpg
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philip_de_laszlo
mk265 the duc de guiche private collection.
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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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