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Portrait of Philadelphia and Elisabeth Cary fg
DYCK, Sir Anthony Van10.jpg
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Portrait_of_Philadelphia_and_Elisabeth_Cary_fg
1635-38
Oil on canvas, 162 x 130 cm
The Hermitage, St. Petersburg
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Charles I of England and Henrietta of France dfg
DYCK, Sir Anthony Van11.jpg
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Charles_I_of_England_and_Henrietta_of_France_dfg
Oil on canvas
Galleria Palatina (Palazzo Pitti), Florence
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Portrait of a Married Couple dfh
DYCK, Sir Anthony Van12.jpg
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Portrait_of_a_Married_Couple_dfh
Oil on canvas, 112 x 131 cm
Museum of Fine Arts, Budapest
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The Wife and Daughter of Colyn de Nole fg
DYCK, Sir Anthony Van13.jpg
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The_Wife_and_Daughter_of_Colyn_de_Nole_fg
Oil on wood, 123 x 90,5 cm
Alte Pinakothek, Munich
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Sir Endymion Porter and the Artist dfh
DYCK, Sir Anthony Van14.jpg
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Sir_Endymion_Porter_and_the_Artist_dfh
1632-41
Oil on canvas, 110 x 114 cm
Museo del Prado, Madrid
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DYCK,_Sir_Anthony_Van
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;
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