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 Suanna and the Elders (mk08) oil painting


Suanna and the Elders (mk08)
C.1621/22 Oil on canvas 194X144cm Munich,Bayerische Staats-gemaldesammlungen,Alte Pinakothek
Painting ID::  21726
Anthony Van Dyck
Suanna and the Elders (mk08)
C.1621/22 Oil on canvas 194X144cm Munich,Bayerische Staats-gemaldesammlungen,Alte Pinakothek
   
   
     

Anthony Van Dyck St Marrin Dividing his Cloak (mk08) oil painting


St Marrin Dividing his Cloak (mk08)
C.1618 Oil on panel, 171.6x158cm Zaventem,St Martin
Painting ID::  21727
Anthony Van Dyck
St Marrin Dividing his Cloak (mk08)
C.1618 Oil on panel, 171.6x158cm Zaventem,St Martin
   
   
     

Anthony Van Dyck Portrait of Maria Louisa de Tassis (mk08) oil painting


Portrait of Maria Louisa de Tassis (mk08)
c.1630 Oil on canvas, 130x93.5cm Vaduz,Furst Liechtensteinische Gemaldegalerie
Painting ID::  21728
Anthony Van Dyck
Portrait of Maria Louisa de Tassis (mk08)
c.1630 Oil on canvas, 130x93.5cm Vaduz,Furst Liechtensteinische Gemaldegalerie
   
   
     

Anthony Van Dyck The Count of Arundel and his son Thonmas (mk08) oil painting


The Count of Arundel and his son Thonmas (mk08)
1636 Oil on canvas 187x162cm Madrid,Museo del Prado
Painting ID::  21729
Anthony Van Dyck
The Count of Arundel and his son Thonmas (mk08)
1636 Oil on canvas 187x162cm Madrid,Museo del Prado
   
   
     

Anthony Van Dyck Equestrian Portrait of Charles (mk08) oil painting


Equestrian Portrait of Charles (mk08)
c.1635-1640 Oil on canvas. 367x292cm London,National Gallery
Painting ID::  21730
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
     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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