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Princess Henrietta Maria of France, Queen consort of England. This is the first portrait of Henrietta Maria painted
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Princess_Henrietta_Maria_of_France,_Queen_consort_of_England._This_is_the_first_portrait_of_Henrietta_Maria_painted
1632(1632)
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A Family Group
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A_Family_Group
1634(1634)
Medium painting
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Portrait of Sir George Digby, 2nd Earl of Bristol, English Royalist politician
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Portrait_of_Sir_George_Digby,_2nd_Earl_of_Bristol,_English_Royalist_politician
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Saint Ambrose barring Theodosius I from Milan Cathedral
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Saint_Ambrose_barring_Theodosius_I_from_Milan_Cathedral
between 1619(1619) and 1620(1620)
Medium oil on canvas
Dimensions 147 x 114 cm (57.9 x 44.9 in)
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Lady Elizabeth Thimbelby and her Sister
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Lady_Elizabeth_Thimbelby_and_her_Sister
circa 1637(1637)
Medium oil on canvas
Dimensions 132 X 150 cm
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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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