All Anthony Van Dyck Oil Paintings

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 valentin serov oil on canvas


valentin serov
valentin serov
Painting ID::  59059
  mk265 portait of count felix sumarokov elston with his dog 1903 st petersburg russian museum.
  mk265 portait of count felix sumarokov elston with his dog 1903 st petersburg russian museum.

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Anthony Van Dyck joaquin sorolla y bastida oil on canvas


joaquin sorolla y bastida
joaquin sorolla y bastida
Painting ID::  59061
  mk265 mrs ira nelson morris and her children,1911, new york the hispanic society of america.
  mk265 mrs ira nelson morris and her children,1911, new york the hispanic society of america.

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Anthony Van Dyck paul cesar helleu oil on canvas


paul cesar helleu
paul cesar helleu
Painting ID::  59062
  mk265 marthe letellier sitting on a sofa holding a fan c 1895 minneapolis minneapolis institute of art.
  mk265 marthe letellier sitting on a sofa holding a fan c 1895 minneapolis minneapolis institute of art.

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Anthony Van Dyck paul cesar helleu oil on canvas


paul cesar helleu
paul cesar helleu
Painting ID::  59063
  mk265 madame helleu adjusting one of her rings c 1900 bayonne musee bonnat
  mk265 madame helleu adjusting one of her rings c 1900 bayonne musee bonnat

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Anthony Van Dyck paul cesar helleu oil on canvas


paul cesar helleu
paul cesar helleu
Painting ID::  59064
  mk265 portait of comtesse henri greffulhe nee elisaneth de caraman chmay 1891 paris private collection.
  mk265 portait of comtesse henri greffulhe nee elisaneth de caraman chmay 1891 paris private collection.

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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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