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Prince Charles Louis Elector Palatine
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Prince_Charles_Louis_Elector_Palatine
1637(1637)
Medium Oil on canvas
Dimensions 213.7 x 132.4 cm (84.1 x 52.1 in)
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The Lamentation over the Dead Christ
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The_Lamentation_over_the_Dead_Christ
Date ca. 1629(1629)
Medium Oil on canvas
Dimensions 303 x 225 cm (119.3 x 88.6 in)
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Portrait of Mary Villiers
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Portrait_of_Mary_Villiers
1638(1638)
Medium Oil
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Study of a Bearded Man with Hands Raised
new24/Anthony Van Dyck-499337.jpg
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Study_of_a_Bearded_Man_with_Hands_Raised
oil on canvas painting by Sir Anthony Van Dyck, c. 1616
Date c. 1616
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James Hay, 2nd Earl of Carlisle
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James_Hay,_2nd_Earl_of_Carlisle
oil on canvas
204.5 x 126 cm
Date c. 1638
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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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