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duchess doria,
new21/Anthony Van Dyck-385276.jpg
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duchess_doria,
1625
paris, louvre
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lord denbigh in pyiamas,
new21/Anthony Van Dyck-293926.jpg
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lord_denbigh_in_pyiamas,
1633
london, the national gallery
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henrietta of lorraine
new21/Anthony Van Dyck-594383.jpg
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henrietta_of_lorraine
1634
by permission of the trustees of the iveagh bequest,kenwood, london
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Amor und Psyche
new22/Anthony Van Dyck-676299.jpg
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Amor_und_Psyche
c. 1638
Oil on canvas
198 x 190 cm
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Ruhe auf der Flucht nach Agypten
new22/Anthony Van Dyck-228464.jpg
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Ruhe_auf_der_Flucht_nach_Agypten
c. 1630
135 x 115 cm (53.15 x 45.28 in)
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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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