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Dyck, Anthony van
The Penitent Apostle Peter
1617-18
oil on panel
The Hermitage, St. Petersburg
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Dyck, Anthony van
Head of a Robber
1617-1618
oil on canvas
Art History Museum, Vienna
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Dyck, Anthony van
Young Woman with a Child
1618
oil on panel
The Hermitage, St. Petersburg
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Dyck, Anthony van
The Lamentation
1618-20
oil on canvas
Art History Museum, Vienna
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Dyck, Anthony van
Apostle Jude
1619-21
Art History Museum, Vienna
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Dyck, Anthony van
Susanna Fourment and her Daughter
1620-21
oil on canvas
National Gallery of Art, Washington D.C.
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Dyck, Anthony van
Family Portrait
1621
oil on canvas
The Hermitage, St. Petersburg
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Dyck, Anthony van
The Genoese Senator
1621-23
oil on canvas
Gemäldegalerie, Berlin
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Dyck, Anthony van
The Genoese Senator's Wife
1621-23
oil on canvas
Gemäldegalerie, Berlin
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Dyck, Anthony van
Lucas van Uffelen
1622
oil on canvas
Herzog-Anton-Ulrich-Museum, Braunchweig
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Dyck, Anthony van
Self-Portrait
Approx. 1622
oil on canvas
The Hermitage, St. Petersburg
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Dyck, Anthony van
Marchesa Cattaneo with a Servant
1623
oil on canvas
National Gallery of Art, Washington D.C.
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Dyck, Anthony van
Nicholas Lanier
1628
oil on canvas
Art History Museum, Vienna
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Dyck, Anthony van
Genoese Noblewoman with her Son
1626
oil on canvas
National Gallery of Art, Washington D.C.
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Dyck, Anthony van
Charles Iwith Monsieur de St Antoine (mk25)
1633
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Dyck, Anthony van
Cupid and Psyche (mk25)
1639-40
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Dyck, Anthony van
Thomas Killigrew and William (mk25)
Lord Crofts 1638
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Dyck, Anthony van
The Greate Peece (mk25
1632
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Dyck, Anthony van
The Three Eldest Children of Charles I (mk25)
1635
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Dyck, Anthony van
The Five Eldest Children of Charles I (mk25)
1637
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| Dyck, Anthony van
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Flemish Baroque Era Painter, 1599-1641
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's studies in oil of characterful heads were included in Rubens's 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,
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