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Lady Digby
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Lady_Digby
1633-1634
Medium Oil on canvas
Dimensions 101.1 x 80.2 cm (39.8 x 31.6 in)
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Lady Digby
new24/Anthony Van Dyck-547979.jpg
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Lady_Digby
1633-1634
Medium Oil on canvas
Dimensions 101.1 x 80.2 cm (39.8 x 31.6 in)
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Portrait Amalies zu Solms Braunfels
new24/Anthony Van Dyck-385463.jpg
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Portrait_Amalies_zu_Solms_Braunfels
1631/32
Dimensions 105 x 91 cm (41.3 x 35.8 in)
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Portrat der Marchesa Balbi
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Portrat_der_Marchesa_Balbi
1625(1625)
Medium Oil on canvas
Dimensions 183 x 122 cm (72 x 48 in)
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Christ on the Cross with Saint Catherine of Siena, Saint Dominic and an Angel
new24/Anthony Van Dyck-675848.jpg
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Christ_on_the_Cross_with_Saint_Catherine_of_Siena,_Saint_Dominic_and_an_Angel
before 1629(1629)
Medium Oil on canvas
Dimensions 314 x 245 cm (123.6 x 96.5 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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