Sir Anthony Van Dyck – Flemish 1599-1641

Sir Anthony Van Dyck
Sir Anthony van Dyck was a Flemish painter who was one of the most important and prolific portraitists of the 17th century. He is also considered to be one of the most brilliant colorists in the history of art.

Van Dyck was born on March 22, 1599, in Antwerp, son of a rich silk merchant, and his precocious artistic talent was already obvious at age 11, when he was apprenticed to the Flemish historical painter Hendrik van Balen. He was admitted to the Antwerp guild of painters in 1618, before his 19th birthday. He spent the next two years as a member of the workshop of the Flemish painter Peter Paul Rubens in Antwerp. Van Dyck's work during this period is in the lush, exuberant style of Rubens, and several paintings attributed to Rubens have since been ascribed to van Dyck.

Sir Anthony van Dyck
Self Portrait
From 1620 to 1627 van Dyck traveled in Italy, where he was in great demand as a portraitist and where he developed his maturing style. He toned down the Flemish robustness of his early work to concentrate on a more dignified, elegant manner. In his portraits of Italian aristocrats—men on prancing horses, ladies in black gowns—he created idealized figures with proud, erect stances, slender figures, and the famous expressive “van Dyck” hands. Influenced by the great Venetian painters Titian, Paolo Veronese, and Giovanni Bellini, he adopted colors of great richness and jewel-like purity. No other painter of the age surpassed van Dyck at portraying the shimmering whites of satin, the smooth blues of silk, or the rich crimsons of velvet. He was the quintessential painter of aristocracy, and was particularly successful in Genoa. There he showed himself capable of creating brilliantly accurate likenesses of his subjects, while he also developed a repertoire of portrait types that served him well in his later work at the court of Charles I of England.

Back in Antwerp from 1627 to 1632, van Dyck worked as a portraitist and a painter of church pictures. In 1632 he settled in London as chief court painter to King Charles I, who knighted him shortly after his arrival. Van Dyck painted most of the English aristocracy of the time, and his style became lighter and more luminous, with thinner paint and more sparkling highlights in gold and silver. At the same time, his portraits occasionally showed a certain hastiness or superficiality as he hurried to satisfy his flood of commissions. In 1635 van Dyck painted his masterpiece, Charles I in Hunting Dress (Louvre, Paris), a standing figure emphasizing the haughty grace of the monarch.

Van Dyck was one of the most influential 17th-century painters. He set a new style for Flemish art and founded the English school of painting; the portraitists Sir Joshua Reynolds and Thomas Gainsborough of that school were his artistic heirs. He died in London on December 9, 1641 © Microsoft® Encarta '97

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Anthony van Dyck - Paintings & Drawings Vol 1 by Anthony van Dyck (Author, Illustrator) – Paperback: 90 pages; Independently published (Jan 2, 2019)

The works of Flemish Baroque painter, draughtsman and etcher Sir Anthony van Dyck.

Van Dyck & Britain by Karen Hearn – Hardcover: 240 pages; Tate (Mar 1, 2009)

The Flemish Baroque painter Anthony van Dyck (1599-1641) first came to Britain in 1620 at the behest of King James. When James died in 1625, his successor, Charles I, recognized van Dyck's skill in capturing the royal image. After a sojourn in Italy, the painter returned to England in 1632, was almost immediately knighted and provided with property and a pension, and became the chief painter of the court. Imbued with an understated authority and relaxed elegance, van Dyck's portraits of the royal family were an instant success. Charles I was depicted as both a powerful sovereign and "nature's gentleman." Gorgeously illustrated, this comprehensive volume is the most thorough examination of van Dyck's years in Britain to date, and investigates the intriguing ways in which van Dyck influenced British art and culture in the centuries following his death. Well-known contributors include scholars and art historians Christopher Brown, Diana Dethloff, Emilie Gordenker, Kevin M. Sharpe, Susan Sloman, and Aileen Ribero.

The Dutch Masters: Van Dyck
Color, Dolby, NTSC
Jun 27, 2006
50 minutes

Van Dyck: A Complete Catalogue of Paintings Van Dyck: A Complete Catalogue of Paintings by Horst Vey, Susan J. Barnes, Nora De Poorter, Oliver Millar

Sir Anthony Van Dyck (1599–1641) is among the greatest portrait painters of all time. The 1990s opened and closed with major exhibitions devoted to his work, and now the long-awaited catalogue raisonné of his painted oeuvre is complete.

A native of Antwerp, Van Dyck also lived and worked for long periods in Italy and England, where his brief, productive life ended. He is best known for his work at the court of Charles I. His full-length portraits of aristocrats in the Caroline court and in Genoa, Antwerp, Brussels, and The Hague influenced the history of Western portraiture into the twentieth century in the work of John Singer Sargent. Handsomely designed and illustrated, the volume includes a reproduction of every known authentic painting by the artist as well as the provenance and the significant facts and literature on each. This catalogue raisonné is, fittingly, the collaborative work of an international team devoted to the study of this major international artist.

Susan J. Barnes, an independent art historian, co-curated a Van Dyck exhibit in Washington, D.C., 1990. Nora De Poorter is director of the Rubenianum, Antwerp. Oliver Millar, Surveyor Emeritus of The Queen’s Pictures, organized an exhibition of Van Dyck’s English work at the National Portrait Gallery, London, 1982–83. Horst Vey, former director of the Kunsthalle, Karlsruhe, is author of the standard work on Van Dyck’s drawings.

672 pp. 450 b/w + 150 color illus. 9 3/4 x 12

Anthony Van Dyck: A Life, 1599-1641 by Robin Blake – Hardcover: 420 pages; Constable and Robinson

Famous for his so-called "swagger portraits" of 17th-century European noblemen, Van Dyck (1599-1641) is most often seen as a courtier interested only in flattering the rich and famous of the baroque era. For the artist's quadricentennial last year, British author Blake (Mind Over Medicine; Fat Man's Shadow) produced this more sympathetic life of the painter, now published in the U.S., recasting the relatively few facts that are known about the painter's life. The book is divided into three sections based on the artist's first name as it changed with his locale: early years in Antwerp as Antoon; apprentice years in Italy as Antonio; and finally England, where Van Dyck became Sir Anthony, a commercial and artistic success painting the Stuarts.

Blake is not an art historian, and his book often goes out on speculative limbs, particularly in positing romantic relationships for Van Dyck with models, for which definitive documentation does not exist. He relies heavily on secondary sources, but chooses them well, making for a lively if sometimes overly romantic narrative of the artist among the fabulously wealthy and powerful, reaching a sad climax when Van Dyck dies (of what remains unknown) just as his young wife gives birth to their first child. The bibliography helpfully lists ISBNs whenever possible, and includes the address of Blake's personal Web site devoted to Van Dyck ( as well as those of numerous sites where photos of the artist's work may be seen. Scholars, however, would be better served by Christopher Brown's less excitable study. 3 inserts of b&w reproductions. (Apr.)
Copyright 2000 Reed Business Information, Inc.

Anthony Van Dyck by Alfred Moir – Hardcover, 128 pages; Harry N. Abrams, 1994

Anthony Van Dyck by Alfred Moir – Paperback, 384 pages; National Gallery of Art, 1990

Anthony Van Dyck painted kings, queens, princes, and courtiers—indeed, it was said of him that he lived more like a prince than a painter. This he shared with his mentor, Peter Paul Rubens, who referred to the young Van Dyck as 'the best of my assistants' and made him a full-fledged collaborator. Yet Van Dyck soon broke away to develop his own individual style—poetic, restrained, and technically virtuosic. After a brief visit to London, he returned to Antwerp in 1621 and was soon on his way to Italy. There, he perfected his famous "Grand Manner" portrait—one that effectively exalted the subject through a variety of painterly devices.

Van Dyck: Paintings and Drawings by Lawson James, Jonathan Glancey, Anthony Van Dyck (Creator) – Hardcover: 144 pages; Prestel; 1st edition (Oct 1, 1999)

Anthony Van Dyck: Thomas Howard the Earl of Arundel (Getty Museum Studies on Art) by Christopher White, Anthony Van Dyck, J. Paul Getty Museum – Paperback: 92 pages; J. Paul Getty Museum; 1st edition (Mar 14, 1996)

Anthony van Dyck's portrait of Thomas Howard marked the beginning of the artist's brilliant international career. This study provides a history both of Thomas Howard, one of the most enlightened collectors and patrons England has ever known, and of van Dyck, whose canvases established the grand tradition of portraiture in England and on the Continent.

Van Dyck 350: Center for Advanced Study in the Visual Arts Symposium Papers Xxvi (Studies in the History of Art) by National Gallery of Art (U.S.), Susan J. Barnes, Arthur K. Wheelock – Paperback: 372 pages; National Gallery of Art (Jun 1, 1994)

This catalog of the paintings of Sir Anthony Van Dyck, the first since G. Gluck in 1931, is organized chronologically and geographically into four parts, each containing an introductory essay by a contributing scholar. The first two sections cover Van Dyck's apprenticeship to Rubens, who dominated Antwerp, and his early independent works; his departure for Italy to find clients and establish a reputation; and his time in Rome and Genoa, where he developed a following as a fashionable portrait painter and courted the English and Spanish nobility.

The third section covers his return to Antwerp, when his history painting equaled that of Rubens and his portraits were in demand. The fourth section highlights Van Dyck's working style, noting his assembly-line techniques as court painter to Charles I of England. In each part, the many reproductions (150 color, 450 b&w), arranged by subject-matter paintings followed by the portraits, are thoroughly described by title, location, size, material, provenance, and literature citations. This encyclopedic work should be acquired by university, museum, and research collections and large public libraries. —Ellen Bates, New York Copyright 2004 Reed Business Information

Van Dyck by Christopher Brown – Hardcover: Cornell University Press (Mar 1, 1983)

Anthony van Dyck - Paintings & Drawings Vol 2 by Anthony van Dyck (Author, Illustrator) – Paperback: 90 pages; Independently published (Jan 3, 2019)

The works of Flemish Baroque painter, draughtsman and etcher Sir Anthony van Dyck.

Van Dyck: The Anatomy of Portraiture by Stijn Alsteens, Adam Eaker, An Van Camp, Xavier F. Salomon, Bert Watteeuw – Hardcover: 320 pages; Yale University Press (Mar 29, 2016)

This landmark volume is a comprehensive survey of the portrait drawings, paintings, and prints of Anthony van Dyck (1599–1641), one of the most celebrated portraitists of all time. His supremely elegant style and ability to convey a sense of a sitter’s inner life made him a favored portraitist among high-ranking figures and royalty across Europe, as well as among his fellow artists and art enthusiasts.

The Dutch Masters Boxed Set / Rembrandt, Vermeer, Van Dyck, Rubens, Bosch, Bruegel 6 discs; Release Date: Jun 27, 2006; 300 minutes

The Great Artists chronicles the lives, times and works of the men whose genius has captivated the art world for generations. Informative and entertaining, the series highlights important events in each artist's life, explores their stylistic trademarks, and provides detailed explanations of their techniques.

Sir Anthony Van Dyck: 1599-1999: Conjectures and Refutations by Rubenianum, Hans Vlieghe – Paperback: 328 pages; Brepols Publishers (Jun 2001)

Van Dyck Drawings Van Dyck Drawings by Christopher Brown – Hardcover; Harry N. Abrams (Sep 10, 1991)

This lavishly produced book, containing over 100 color illustrations of Van Dyck's drawings (most reproduced full size), is a companion catalog to an exhibition that appeared at the Pierpont Morgan Library (New York) and the Kimbell Art Museum (Ft. Worth). The drawings span the artist's early years as an apprentice with Rubens to the last year of his life. The lucid introduction and catalog entries are amply footnoted, and Brown does an excellent job of elaborating on the technical and iconographical aspects of the artist's drawings. Especially helpful are the extensive introductions to groups of drawings relating to a particular project or theme. The book is rich in supporting illustrations (more than 250 in black in white), which indicate the drawings' relationships to Van Dyck's paintings and the works of other artists. There is also an extensive bibliography, a chronology of Van Dyck's life, and an annotated translation of Bellori's brief biography of the artist. Along with Arthur K. Wheelock Jr. and others' Anthony Van Dyck ( LJ 4/15/91), this book is essential for art libraries and highly recommended for college and larger public library collections. —David B. Hegeman, King's Coll. Lib., Briarcliff Manor, N.Y.Copyright 1991 Reed Business Information, Inc.

Van Dyck and the Representation of Dress in Seventeenth-Century Portraiture (Pictura Nova, 8) by E. Gordenker – Hardcover: 350 pages; Brepols Publishers (Feb 1, 2002)

Anthony Van Dyck (1599-1641) introduced a new type of costume in his portraits during his second English period (1632-1641), one that blurred the margins of fact and fancy. He used costume to forge a complex and memorable image of his English patrons, the Caroline courtiers, one that captured their ideals and yet had resonance for many years after his death. Van Dyck established new conventions for the representation of dress in portraits that held sway until the end of the seventeenth century. Later generations of English, Dutch, and French painters, used Van Dyck´s innovations as a touchstone for a new manner of dressing sitters, one that was partially fictional, and much more casual and unbuttoned than had ever been represented before. This book shows that an understanding of dress can offer a new way of revealing the associations and ideals that a portait may have projected, and that the history of costume provides a unique set of tools with which to analyze the creativity and contributions of Van Dyck.

Van Dyck: 1599-1641 by Christopher Brown, Hans Vlieghe, Koninklijk museum – Hardcover: 352 pages; Rizzoli; 1st edition (Jul 16, 1999)

Coinciding with the 1999 exhibitions of his paintings in Antwerp and London, Anthony van Dyck: 1599-1641 celebrates the 400th anniversary of the birth of the celebrated Flemish painter. Van Dyck is perhaps best known for his religious paintings, which are outstanding examples of the Baroque style, and he is also considered one of the greatest portrait painters in an age of exceptional portraitists. He revolutionized royal portraiture in England by introducing more dynamic compositions, often incorporating the dramatic presence of a draped curtain leading out into a natural vista and open skies.

Anthony Van Dyck as Printmaker by Carl DePauw, Ger Luijten – Hardcover: 400 pages; Rizzoli (Aug 21, 1999)

Like Dürer, Rembrandt and Goya, Anthony van Dyck (1599-1641) made a key contribution to the art of printmaking. He was himself a talented etcher, and prints after his paintings were cut by the best engravers of his day. Yet, to date, his printmaking has suffered from undeserved neglect. This book discusses Van Dyck's first acquaintance with the medium in Rubens's workshop and illuminates the genesis of the Iconography, a portrait gallery of illustrious contemporaries. All his etchings are catalogued together with preparatory drawings and grisailles, as well as proofs containing corrective flourishes. Furthermore the book includes a selection of the prints after paintings by Van Dyck. A number of them were the initiative of the artist himself, and others were produced on behalf of publishers and engravers. Works from the eighteenth century are included to illustrate the influence Van Dyck exerted until long after his death—even in France and England.

Anthony Van Dyck (Great Painters Series) by Anthony Van Dyck, N. Gritsai – Hardcover: 176 pages; Parkstone Press, 1997

This superb new biography provides the fullest narrative of Van Dyck's life and personality to appear in English.

Van Dyck in England by Oliver Millar – Hardcover: 120 pages; The Stationery Office/Tso; 1st edition (Mar 1, 1984)

The years spent by Anthony Van Dyck in London, in the service of Charles I, are the most dramatic in the history of English painting. When he arrived in London in the early spring of 1632, he was one of the most successful and accomplished painters in Europe. King Charles I had wanted for many years to attract to his service a painter of international reputation and he found in Van Dyck a painter who shared many of his own tastes and especially his love of Titian. The portraits which Van Dyck painted in England are the most distinguished, refined, evocative and influential works of art ever painted in this country, and they exercised an incalculable influence on the future course of British portrait painting. It is appropriate that the first large exhibition to be devoted solely to the painter's English period should be held at the National Portrait Gallery.

Van Dyck (Masters of Art) by Alfred Moir – Hardcover: 128 pages; Thames and Hudson Ltd (Nov 14, 1994)

A study of the work of Anthony Van Dyck. He painted kings, queens, princes and courtiers, and it was often said of him that he behaved more like a prince than a painter. This he shared with his master, Rubens, but he soon broke away to develop his own style - poetic and restrained.

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