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Anthony Van Dyck
Portrait of charles i hunting (mk03)
1635
Oil on canvas,
107 1/8x83 1/2"(272.1x212.1cm)
Musee du Louvre,
Paris.
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Anthony Van Dyck
Portrait of the earl of denbigh (mk03)
1633-34
Oil on canvas,
97 1/2x58 1/2" (247.5x148.5cm)
The National Gallery
London
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Anthony Van Dyck
Portrait of the earl and countess of derby and their daughter (mk03)
c.1636
Oil on canvas,
97x84 1/8"(246.4x213.7cm)
The Frick Collection
New York
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Anthony Van Dyck
Hilly landscape with trees (mk03)
c.1635-40
Pen and brown ink and gray,blue,and green watercolor washes on white paper,
8 15/16x13"(228x330mm)
Devonshire Collection,
Chatsworth,
Reproduced by permission of the Chatsworth Settlement Trustees
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Anthony Van Dyck
James Stuart Duke of Lennox and Richmond (mk05)
Canvas,42 1/4 x 33''(107 x 84 cm)Entered the collection of Louis XIV before 1683
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Anthony Van Dyck
Charles I King of England Hunting (mk05)
Canvas,104 1/2 x 81 1/2''(266 x 207 cm)Commissioned by the King not later than 1635;paid for in 1638 Acquired by Louis XVI in 1775 Inv 1236
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Anthony Van Dyck
The Virgin and Child with Donors (mk05)
Canvas 98 1/2 x 75 1/4''(250 x 191 cm);22 1/2''(57.5 cm)at the top of the picture are a later additi8on Acquired by Louis XIV in 1685
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Anthony Van Dyck
Presumed Portrait of the Marchesa Geromina Spinola-Doria of Genoa (mk05)
Canvas 94 x 67''(239 x 170 cm)Received in 1949
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Anthony Van Dyck
Venus Asking Vulcan for Arms for Aeneas (mk05)
Canvas,86 1/2 x 57''(220 x 145 cm);20''(51 cm)at the top of the picture are a later addition Entered the collection of Louis XIV between 1684 and 1715 INV
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Anthony Van Dyck
Portrait of a Member of the Balbi Family (mk08)
c.1625
Oil on canvas
132.7x120cm
Cincinnati,Cincinnati Artf Museum
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Anthony Van Dyck
Suanna and the Elders (mk08)
C.1621/22
Oil on canvas
194X144cm
Munich,Bayerische Staats-gemaldesammlungen,Alte Pinakothek
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Anthony Van Dyck
St Marrin Dividing his Cloak (mk08)
C.1618
Oil on panel,
171.6x158cm
Zaventem,St Martin
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Anthony Van Dyck
Portrait of Maria Louisa de Tassis (mk08)
c.1630
Oil on canvas,
130x93.5cm
Vaduz,Furst Liechtensteinische Gemaldegalerie
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Anthony Van Dyck
The Count of Arundel and his son Thonmas (mk08)
1636
Oil on canvas
187x162cm
Madrid,Museo del Prado
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Anthony Van Dyck
Equestrian Portrait of Charles (mk08)
c.1635-1640
Oil on canvas.
367x292cm
London,National Gallery
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Anthony Van Dyck
Self Portrait
mk65
late 1620s
Oil on canvas
46x37"
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Anthony Van Dyck
Charles I in Three Positions (mk25)
1635-6
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Anthony Van Dyck
Genuese Van Dyck (mk45)
c.1622/26
Oil on canvas
200x116cm
Berlin,Staatliche Museen zu Berlin-Preubischer Kulturbesitz,Gemaldegalerie
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Anthony Van Dyck
Genuese Van Dyck (mk45)
c.1622/26
Oil on canvas
200x116cm
Berlin,Staatliche Museen zu Berlin-Preubischer Kulturbesitz,Gemaldegalerie
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Anthony Van Dyck
Self-Portrait
mk52
c.1619-20
Oil on canvas
116.5x93.5cm
Hermitage,St Petersburg
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| Anthony Van Dyck
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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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