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 Study of a Bearded Man with Hands Raised, oil on canvas


Study of a Bearded Man with Hands Raised,
Study of a Bearded Man with Hands Raised,
Painting ID::  77914
  Study of a Bearded Man with Hands Raised, oil on canvas painting by Sir Anthony Van Dyck, c. 1616 cjr
  Study of a Bearded Man with Hands Raised, oil on canvas painting by Sir Anthony Van Dyck, c. 1616 cjr

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Anthony Van Dyck Portrat Amalies zu Solms-Braunfels oil on canvas


Portrat Amalies zu Solms-Braunfels
Portrat Amalies zu Solms-Braunfels
Painting ID::  78071
  1631/32 Oil 105 x 91 cm (41.3 x 35.8 in) cjr
  1631/32 Oil 105 x 91 cm (41.3 x 35.8 in) cjr

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Anthony Van Dyck Portrait of Princess Henrietta of England oil on canvas


Portrait of Princess Henrietta of England
Portrait of Princess Henrietta of England
Painting ID::  78482
  ca. 1646(1646) cjr
  ca. 1646(1646) cjr

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Anthony Van Dyck Portrat der Elisabeth oder Theresia Shirley in orientalischer Kleidung oil on canvas


Portrat der Elisabeth oder Theresia Shirley in orientalischer Kleidung
Portrat der Elisabeth oder Theresia Shirley in orientalischer Kleidung
Painting ID::  78583
  1622(1622) Medium Oil on canvas cyf
  1622(1622) Medium Oil on canvas cyf

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Anthony Van Dyck Equestrian Portrait of Charles I oil on canvas


Equestrian Portrait of Charles I
Equestrian Portrait of Charles I
Painting ID::  79046
  1st third of 17th century Oil on canvas 365 x 289 cm cjr
  1st third of 17th century Oil on canvas 365 x 289 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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