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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Anthony Van Dyck Margareta snyders oil painting


Margareta snyders
mk76 Painted c.1620 Oil on canvas 51 1/2x39 1/8in
Painting ID::  31752
Anthony Van Dyck
Margareta snyders
mk76 Painted c.1620 Oil on canvas 51 1/2x39 1/8in
   
   
     

Anthony Van Dyck Paola adorno,Marchesa di brignole sale oil painting


Paola adorno,Marchesa di brignole sale
mk76 Painted between 1622 and 1627 Oil on canvas 90 7/8x61 5/8in
Painting ID::  31753
Anthony Van Dyck
Paola adorno,Marchesa di brignole sale
mk76 Painted between 1622 and 1627 Oil on canvas 90 7/8x61 5/8in
   
   
     

Anthony Van Dyck James,seventh earl of derby,his lady and child oil painting


James,seventh earl of derby,his lady and child
mk76 Painted between 1632 and 1641 Oil on canvas 97x84 1/8in
Painting ID::  31754
Anthony Van Dyck
James,seventh earl of derby,his lady and child
mk76 Painted between 1632 and 1641 Oil on canvas 97x84 1/8in
   
   
     

Anthony Van Dyck Sir John Suckling oil painting


Sir John Suckling
mk76 Painted between 1632 and 1641 Oil on canvas 85 1/4x511/4in
Painting ID::  31755
Anthony Van Dyck
Sir John Suckling
mk76 Painted between 1632 and 1641 Oil on canvas 85 1/4x511/4in
   
   
     

Anthony Van Dyck The Countess of clanbrassil oil painting


The Countess of clanbrassil
mk76 Painted probably in 1636 Oil on canvas 83 1/2x50 1/4in
Painting ID::  31756
Anthony Van Dyck
The Countess of clanbrassil
mk76 Painted probably in 1636 Oil on canvas 83 1/2x50 1/4in
   
   
     

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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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