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Anthony Van Dyck Self Portrait_nn oil painting


Self Portrait_nn
Painting ID::  1067
Anthony Van Dyck
Self Portrait_nn
Pinakothek, Munich

   
   
     

Anthony Van Dyck Portrait of a Gentleman oil painting


Portrait of a Gentleman
Painting ID::  1068
Anthony Van Dyck
Portrait of a Gentleman
1624 Pinakothek, Munich

   
   
     

Anthony Van Dyck Emperor Charles V oil painting


Emperor Charles V
Painting ID::  1070
Anthony Van Dyck
Emperor Charles V
1620 Galleria degli Uffizi, Florence

   
   
     

Anthony Van Dyck An Alchemist oil painting


An Alchemist
Painting ID::  1073
Anthony Van Dyck
An Alchemist
1661 National Gallery, London

   
   
     

Anthony Van Dyck Interior with Peasants oil painting


Interior with Peasants
Painting ID::  1074
Anthony Van Dyck
Interior with Peasants
1663 Wallace Collection, London

   
   
     

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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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     | Jan Polack | Anna Bacherini Piattoli | Mortimer Menpes |


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