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 Karl in pa hunting oil painting


Karl in pa hunting
mk234 ca 1635-38 266x207cm
Painting ID::  53800
Anthony Van Dyck
Karl in pa hunting
mk234 ca 1635-38 266x207cm
   
   
     

Anthony Van Dyck lomellini portrait oil painting


lomellini portrait
mk247 1626 to 27,oil on canvsa,106x100 in,269x254 cm,national gallery of scotland,edinburgh,uk
Painting ID::  56056
Anthony Van Dyck
lomellini portrait
mk247 1626 to 27,oil on canvsa,106x100 in,269x254 cm,national gallery of scotland,edinburgh,uk
   
   
     

Anthony Van Dyck lady elizabeth thimbleby and dorothy,viscountess andover oil painting


lady elizabeth thimbleby and dorothy,viscountess andover
mk247 1637,oil on canvas,52x59 in,132x149 cm,national gallery,london,uk
Painting ID::  56776
Anthony Van Dyck
lady elizabeth thimbleby and dorothy,viscountess andover
mk247 1637,oil on canvas,52x59 in,132x149 cm,national gallery,london,uk
   
   
     

Anthony Van Dyck equestrian porrtait of charles l oil painting


equestrian porrtait of charles l
mk247 1637 to 38,oil on canvas,144.5x115 in,367x292.1 cm,national gallery,london,uk
Painting ID::  56778
Anthony Van Dyck
equestrian porrtait of charles l
mk247 1637 to 38,oil on canvas,144.5x115 in,367x292.1 cm,national gallery,london,uk
   
   
     

Anthony Van Dyck sir anthony dyck oil painting


sir anthony dyck
mk265 venitia,lady digby as prudence 1633-1634 london national portrait gallery
Painting ID::  58897
Anthony Van Dyck
sir anthony dyck
mk265 venitia,lady digby as prudence 1633-1634 london national portrait 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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