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 Arrest of Christ oil painting


Arrest of Christ
mk84 11618-20 Madrid,Prado,canvas 344x249cm
Painting ID::  32911
Anthony Van Dyck
Arrest of Christ
mk84 11618-20 Madrid,Prado,canvas 344x249cm
   
   
     

Anthony Van Dyck Portrait of a Member of the Balbi Family oil painting


Portrait of a Member of the Balbi Family
mk86 c.1625 Oil on canvas 132.7x120cm
Painting ID::  33655
Anthony Van Dyck
Portrait of a Member of the Balbi Family
mk86 c.1625 Oil on canvas 132.7x120cm
   
   
     

Anthony Van Dyck Susanna and  the Elders oil painting


Susanna and the Elders
mk86 c.1621/22 Oil on canvas 194x144cm Munich,Bayerische Staats-gemaldersammlungen,Alte Pinkakothek
Painting ID::  33694
Anthony Van Dyck
Susanna and the Elders
mk86 c.1621/22 Oil on canvas 194x144cm Munich,Bayerische Staats-gemaldersammlungen,Alte Pinkakothek
   
   
     

Anthony Van Dyck St Martin Dividing his Cloak oil painting


St Martin Dividing his Cloak
mk86 c.1618 Oil on panel 171.6x158cm Zaventem,St Martin
Painting ID::  33695
Anthony Van Dyck
St Martin Dividing his Cloak
mk86 c.1618 Oil on panel 171.6x158cm Zaventem,St Martin
   
   
     

Anthony Van Dyck Portrait of Maria Louisa de Tassis oil painting


Portrait of Maria Louisa de Tassis
mk86 c.1630 Oil on canva 130x93.5cm Vaduz,Funst Liechtensteinische Gemaldegalerie
Painting ID::  33696
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
     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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