anthonis van dyck

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's studies in oil of characterful heads were included in Rubens's 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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anthonis van dyck henrietta av frankrike, englands drottning oil


henrietta av frankrike, englands drottning
Painting ID::  56680 		henrietta av frankrike, englands drottning
mk248 van dyck bade seden lag alder kansla for olika tygers textur, drottningens lugn i denna magnifika gula klanning gor det svart att tanka sig att bon skulle drabbas bart av odet krig ocb bennes mans avrattning lag trots det framfor benne.
   
   
     
anthonis van dyck lorderna john och bernard stuart oil


lorderna john och bernard stuart
Painting ID::  56681 		lorderna john och bernard stuart
mk248 van dyck var en expert pa att komponera dubbla portratt. har avbildas de lysande broderna stuart i trekvartsprofil, samtidigt som de star vanda mot varandra som om de stod i begrepp att inleda en dans. den tomma bandske lrd bernard baller ivanster band demonstrerar ett vanligt forekommande knep som anvandes for att fa subjktets fungrat att se kangre ut. pa tavlan avbidas d tva broderna kort innan de inledde en tre ar lang rundresa i europe bada broderna kom till sist att stupa i det brittiska inbordeskriget, dar de kampade pa rojalistsiden.
   
   
     
anthonis van dyck simson och delila oil


simson och delila
Painting ID::  70804 		simson och delila
olja pa duk 254x146cm 1627-32 se
olja_pa_duk_254x146cm 1627-32 se
   
   
     
anthonis van dyck portratt av nicholas lanier oil


portratt av nicholas lanier
Painting ID::  70805 		portratt av nicholas lanier
olja pa duk 86.2x111.5cm 1720 se
olja_pa_duk_86.2x111.5cm 1720 se
   
   
     
anthonis van dyck Portrat des Frans Snyders und seine Frau -- Linker Teil oil


Portrat des Frans Snyders und seine Frau -- Linker Teil
Painting ID::  80051 		Portrat des Frans Snyders und seine Frau -- Linker Teil
1. Drittel 17. Jh. Oil on canvas 82 x 110 cm) cjr
1._Drittel_17._Jh._ Oil_on_canvas _ 82_x_110_cm) _ cjr
   
   
     
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     anthonis van dyck
     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's studies in oil of characterful heads were included in Rubens's 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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