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Anthony Van Dyck
Arrest of Christ
mk84
11618-20
Madrid,Prado,canvas
344x249cm
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Anthony Van Dyck
Portrait of a Member of the Balbi Family
mk86
c.1625
Oil on canvas
132.7x120cm
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Anthony Van Dyck
Susanna and the Elders
mk86
c.1621/22
Oil on canvas
194x144cm
Munich,Bayerische Staats-gemaldersammlungen,Alte Pinkakothek
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Anthony Van Dyck
St Martin Dividing his Cloak
mk86
c.1618
Oil on panel
171.6x158cm
Zaventem,St Martin
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Anthony Van Dyck
Portrait of Maria Louisa de Tassis
mk86
c.1630
Oil on canva
130x93.5cm
Vaduz,Funst Liechtensteinische Gemaldegalerie
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Anthony Van Dyck
The Count of Arundel and his son Thomans
mk86
1636
Oil on canvas
187x162cm
Madrid,Museo del Prado
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Anthony Van Dyck
Equestrain Portrait of Charles I
mk86
c.1635-1640
Oil on canvas
367x292.1cm
London,National Gallery
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Anthony Van Dyck
James Seventh Earl of Derby,His Lady and Child
mk29
1632-41
246.2x213.7cm
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Anthony Van Dyck
Marchesa Giovanna Cattaneo
mk29
1622-27
Oil on canvas
102.6x86.4cm
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Anthony Van Dyck
Self-Portrait
mk149
Late 1620s-Early 1630s
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Anthony Van Dyck
The mystic marriage of the Blessed Hermann Foseph with Mary
mk150
1630
Canvas
160x128cm
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Anthony Van Dyck
Samson and Delilah
mk150
c.1628/30
Canvas
146x254cm
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Anthony Van Dyck
Portrait of a young general
mk150
c.1624
Canvas
115.5x104cm
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Anthony Van Dyck
Nicholas Lanier
mk150
c.1632
Canvas
111x87.6cm
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Anthony Van Dyck
Facomo de Cachiopin
mk150
c.1628/9
Canvas
111x84.5cm
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Anthony Van Dyck
Prince Rupert of the Palatinate
mk150
c.1631/2
Canvas
175x95.5cm
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Anthony Van Dyck
Crowning with Thorns
mk156
c.1620
Oil on canvas
223x196cm
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Anthony Van Dyck
Self-Portrait
mk156
c.1622
Oil on canvas
117x94cm
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Anthony Van Dyck
Marchesa Elena Grimaldi,Wife of Marchese Nicola Cattaneo
mk156
c.1623
Oil on canvas
242.9x138.5cm
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Anthony Van Dyck
King of England at the Hunt
mk156
1635
Oil on canvas
266x207cm
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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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