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anders zorn
new21/Anthony Van Dyck-945525.jpg
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anders_zorn
mk265 george peabody gadner 1899 boston museu museum of fine arts
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giovanni boldini
new21/Anthony Van Dyck-582744.jpg
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giovanni_boldini
mk265 fireworks 1892 pistoia musee boldini.
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giovanni boldini
new21/Anthony Van Dyck-928392.jpg
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giovanni_boldini
mk265 mademoiselle lanthelme 1907 rome galleria nazionale d arte moderna.
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james abbott mcneill whistler
new21/Anthony Van Dyck-753794.jpg
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james_abbott_mcneill_whistler
mk265 arrangement in black lady in the yellow buskin portrait of lady archihia philadelphia museum of art.
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antonio de la gandara
new21/Anthony Van Dyck-448957.jpg
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antonio_de_la_gandara
mk265 port of alberto del solar with his two daughters c 1904-1905 new qrleans kurt e schon ltd 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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