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The Balbi Children
new16/Anthony Van Dyck-684753.jpg
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The_Balbi_Children
mk170
1625-1627
Oil on canvas
219x151cm
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William Feilding,lst Earl of Denbigh
new16/Anthony Van Dyck-993347.jpg
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William_Feilding,lst_Earl_of_Denbigh
mk170
1633-1634
Oil on canvas
247.5x148.5cm
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Lady Elizabeth Thimbelby and Dorothy,Viscountess Andover
new16/Anthony Van Dyck-637743.jpg
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Lady_Elizabeth_Thimbelby_and_Dorothy,Viscountess_Andover
mk170
circa 1637
Oil on canvas
132.1x149cm
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Portrait of GeorgeGage with Two Attendants
new16/Anthony Van Dyck-739323.jpg
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Portrait_of_GeorgeGage_with_Two_Attendants
mk170
1622-1623
Oil on canvas
15x113.5cm
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Lord John Stuart and His Brother,Lord Bernard Stuart
new16/Anthony Van Dyck-366259.jpg
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Lord_John_Stuart_and_His_Brother,Lord_Bernard_Stuart
mk170
circa 1638
Oil on canvas
237.5x146.1cm
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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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