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 Robert Rich oil on canvas


Robert Rich
Robert Rich
Painting ID::  90834
  from 1632(1632) until 1641(1641) Medium oil on canvas Dimensions 208 x 128 cm (81.9 x 50.4 in) cyf
  from 1632(1632) until 1641(1641) Medium oil on canvas Dimensions 208 x 128 cm (81.9 x 50.4 in) cyf

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Anthony Van Dyck Self Portrait oil on canvas


Self Portrait
Self Portrait
Painting ID::  90932
  ca. 1623 Medium English: Oil on Canvas cjr
  ca. 1623 Medium English: Oil on Canvas cjr

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Anthony Van Dyck Portrat der Charlotte Butkens, Herrin von Anoy, mit ihrem Sohn oil on canvas


Portrat der Charlotte Butkens, Herrin von Anoy, mit ihrem Sohn
Portrat der Charlotte Butkens, Herrin von Anoy, mit ihrem Sohn
Painting ID::  91208
  c. 1631 Medium oil on canvas Dimensions Deutsch: 200 x 120 cm cjr
  c. 1631 Medium oil on canvas Dimensions Deutsch: 200 x 120 cm cjr

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Anthony Van Dyck Portrait of an Alderman oil on canvas


Portrait of an Alderman
Portrait of an Alderman
Painting ID::  92610
  Oil on canvas with paper extension Dimensions 25 x 19 5/8 in. (63.5 x 49.8 cm) cjr
  Oil on canvas with paper extension Dimensions 25 x 19 5/8 in. (63.5 x 49.8 cm) cjr

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Anthony Van Dyck Portrat des Bildhauers Francois Duquesnoy oil on canvas


Portrat des Bildhauers Francois Duquesnoy
Portrat des Bildhauers Francois Duquesnoy
Painting ID::  94035
  between 1700(1700) and 1734(1734) Medium oil on canvas Dimensions 77,5 x 61 cm cjr
  between 1700(1700) and 1734(1734) Medium oil on canvas Dimensions 77,5 x 61 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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