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 Simson und Dalila oil on canvas


Simson und Dalila
Simson und Dalila
Painting ID::  94329
  1st third of 17th century Medium oil on canvas Dimensions 148 x 257 cm (58.3 x 101.2 in) cjr
  1st third of 17th century Medium oil on canvas Dimensions 148 x 257 cm (58.3 x 101.2 in) cjr

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Anthony Van Dyck Self-portrait oil on canvas


Self-portrait
Self-portrait
Painting ID::  94330
  painting cjr
  painting cjr

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Anthony Van Dyck Portrat der Marchesa Elena Grimaldi, Gattin des Marchese Nicola Cattaneo. oil on canvas


Portrat der Marchesa Elena Grimaldi, Gattin des Marchese Nicola Cattaneo.
Portrat der Marchesa Elena Grimaldi, Gattin des Marchese Nicola Cattaneo.
Painting ID::  94331
  c. 1623 Medium oil on canvas Dimensions Deutsch: 246 x 173 cm cjr
  c. 1623 Medium oil on canvas Dimensions Deutsch: 246 x 173 cm cjr

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Anthony Van Dyck The Rest on The Flight into Egypt oil on canvas


The Rest on The Flight into Egypt
The Rest on The Flight into Egypt
Painting ID::  94332
  circa 1630(1630) Medium oil on canvas Dimensions 135 x 115 cm (53.1 x 45.3 in) cjr
  circa 1630(1630) Medium oil on canvas Dimensions 135 x 115 cm (53.1 x 45.3 in) cjr

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Anthony Van Dyck Portrat der Marie-Louise de Tassis oil on canvas


Portrat der Marie-Louise de Tassis
Portrat der Marie-Louise de Tassis
Painting ID::  94333
  c. 1630 Medium oil on canvas Dimensions Deutsch: 120 x 93 cm cjr
  c. 1630 Medium oil on canvas Dimensions Deutsch: 120 x 93 cm cjr

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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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