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395:. Van Balen was a successful painter of small cabinet paintings who had multiple pupils. It is not known how long he studied with van Balen, and estimates vary from two to four years. While it was common for apprentices to stay on in their master's workshop until they were formally registered as a master in the local guild, van Dyck is believed to have left his master's workshop in 1615 or 1616 to set up his independent workshop before he became a master. The reason was that in that period his father was experiencing financial difficulties and could use any assistance he could get. It was during the period van Dyck may have started painting the series of panels of Christ and the Apostles in bust-length, although it is also possible that this only happened after his first return from Italy in 1620-21.
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368:) His father was Frans van Dyck, a well-to-do silk merchant. His mother was Maria Cupers (or Cuypers), daughter of Dirk Cupers (or Cuypers) and Catharina Conincx and the second wife of Anthony’s father. He was baptised on 23 March 1599 (as Anthonio). His parental grandfather, also called Anthoni, had commenced his career as a painter and had been registered in 1556 as a master painter at the Antwerp
499:... his behaviour was that of a nobleman rather than an ordinary person, and he shone in rich garments. Since he was accustomed in the circle of Rubens to noblemen, and being naturally of elevated mind, and anxious to make himself distinguished, he therefore wore—as well as silks—a hat with feathers and brooches, gold chains across his chest, and was accompanied by servants."
2281:"Van Dyck in Sicily: while the plague held Palermo in its grip, Anthony van Dyck radically developed 12th-century iconography of Saint Rosalie through five paintings that imbued the saint with a sensual refinement. Van Dyck's Rosalie became one of Catholicism's most popular images of victory over pestilence, and represents a key period in the artist's development"
1088:: "the importance of this series was enormous, and it provided a repertory of images that were plundered by portrait painters throughout Europe over the next couple of centuries". Van Dyck's brilliant etching style, which depended on open lines and dots, was in marked contrast to that of the other great portraitist in prints of the period,
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391:) in the Korte Nieuwstraat. His mother died when he was only 8 years old. At the time the family was living in a more luxurious house in the Korte Nieuwstraat called the Stadt van Ghent (City of Ghent). His artistic talent was evident very early. When he was 10 years old, he started his formal training as a painter with
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Van Dyck's success led him to maintain a large workshop in London, which became "virtually a production line for portraits". According to a visitor he usually only made a drawing on paper, which was then enlarged onto canvas by an assistant; he then painted the head himself. The costume in which the
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He returned to
Flanders after about four months, and then left in late 1621 for Italy, where he remained for six years. There he studied the Italian masters while starting a successful career as a portraitist. He was already presenting himself as a figure of consequence, annoying the rather bohemian
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The relatively few names of his assistants that are known are Dutch or
Flemish. He probably preferred to use trained Flemish artists, as no equivalent English training existed in this period. Van Dyck's enormous influence on English art does not come from a tradition handed down through his pupils.
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The series was a great success, but was his only venture into printmaking; portraiture probably paid better. At his death there were eighty plates by others, of which fifty-two were of artists, as well as his own eighteen. The plates were bought by a publisher; with the plates reworked periodically
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he painted for the council-chamber was destroyed in 1695. He was evidently very charming to his patrons, and, like Rubens, well able to mix in aristocratic and court circles, which added to his ability to obtain commissions. By 1630, he was described as the court painter of the
Habsburg Governor of
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as a pupil of Jan
Ghendrick, alias van Cleve. The elder brother of his grandfather was also admitted as master painter in the Guild and had studied with Geert Ghendrick., He had later become a successful merchant in silk and small writing articles. He had bought the birth house of Anthony called
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He was an immediate success in
England, where he painted large numbers of portraits of the King and Queen, as well as their children. Many portraits were done in several versions, to be sent as diplomatic gifts or given to supporters of the increasingly embattled king. Altogether van Dyck has been
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first met Queen
Henrietta Maria (who was in exile in Holland) in 1641, she wrote: "Van Dyck's handsome portraits had given me so fine an idea of the beauty of all English ladies, that I was surprised to find that the Queen, who looked so fine in painting, was a small woman raised up on her chair,
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made in
England played an important part in introducing the Flemish watercolour landscape tradition to England. Some are studies, which reappear in the background of paintings, but many are signed and dated and were probably regarded as finished works to be given as presents. Several of the most
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and Titian as well as Rubens' style from his own period in Genoa, where extremely tall but graceful figures look down on the viewer with great hauteur. In 1627, he went back to
Antwerp where he remained for five years, painting more affable portraits which still made his Flemish patrons look as
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done for the King (below). But many other works, rather more religious than mythological, do survive, and though they are very fine, they do not reach the heights of Velázquez's history paintings. Earlier ones remain very much within the style of Rubens, although some of his
Sicilian works are
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In
England he developed a version of his style which combined a relaxed elegance and ease with an understated authority in his subjects which was to dominate English portrait-painting to the end of the 18th century. His portraits of Charles on horseback updated the grandeur of Titian's
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At the same time the dominance of Rubens in the relatively small and declining city of Antwerp probably explains why, despite his periodic returns to the city, van Dyck spent most of his career abroad. In 1620, in Rubens's contract for the major commission for the ceiling of the
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413:, the leading master painter of Antwerp and the whole of Northern Europe. Rubens operated a large workshop and often relied on sub-contracted artists. His influence on the young artist was immense. Rubens referred to the nineteen-year-old van Dyck as "the best of my pupils".
533:. His depictions of a young woman with flowing blonde hair wearing a Franciscan cowl and reaching down toward the city of Palermo in its peril, became the standard iconography of the saint from that time onward and was extremely influential for Italian Baroque painters, from
778:: "Charles is given a totally natural look of instinctive sovereignty, in a deliberately informal setting where he strolls so negligently that he seems at first glance nature's gentleman rather than England's King". Although his portraits have created the classic idea of "
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and some of his sons. Rubens was an especial target, who eventually in 1630 came on a diplomatic mission, which included painting, and he later sent Charles more paintings from Antwerp. Rubens was very well-treated during his nine-month visit, during which he was
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were the first painters of pre-eminent talent to work mainly as court portraitists, revolutionising the genre. Van Dyck is best known for his portraits of the aristocracy, most notably Charles I, and his family and associates. He was the dominant influence on
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church at Antwerp (lost to fire in 1718), van Dyck is specified as one of the "discipelen" who was to execute the paintings to Rubens' designs. Unlike van Dyck, Rubens worked for most of the courts of Europe, but avoided exclusive attachment to any of them.
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still holds the works he did for one of his main patrons, the Earl of Pembroke, including his largest work, a huge family group portrait with ten main figures. Spanish museums own a rich presence of this artist in addition to The Prado's ensemble. The
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to the Queen in 1639–40; this may have been instigated by the King in an attempt to keep him in England. He had spent most of 1634 in Antwerp, returning the following year, and in 1640–41, as the Civil War loomed, spent several months in Flanders and
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client wished to be painted was left at the studio and often with the unfinished canvas sent out to artists specialised in rendering such clothing. In his last years these studio collaborations accounted for some decline in the quality of work.
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to specialists, who engraved after his drawings. His etched plates appear not to have been published until after his death, and early states are very rare. Most of his plates were printed after only his work had been done. Some exist in further
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The origins and exact nature of their relationship are unclear. It has been speculated that van Dyck was a pupil of Rubens from about 1613, as even his early work shows little trace of van Balen's style, but there is no clear evidence for this.
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About the end of March or the beginning of April, 1632, Van Dyck arrived in England; he was almost immediately appointed Principal Painter in Ordinary to the King, knighted, presented with a gold chain, similar to that which had been given to
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In addition many copies untouched by him, or virtually so, were produced by the workshop, as well as by professional copyists and later painters. The number of paintings ascribed to him had by the 19th century become huge, as with Rembrandt,
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in 1632. In April of that year, van Dyck returned to London and was taken under the wing of the court immediately, being knighted in July and at the same time receiving a pension of £200 a year, in the grant of which he was described as
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His style coined the names of the van Dyke beard, for the sharply pointed and trimmed goatees popular for men in the first half of the century, and the van Dyke collar, a wide collar across the shoulders edged copiously with
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He was well paid for his paintings in addition to this, at least in theory, as King Charles did not actually pay over his pension for five years and reduced the price of many paintings. He was provided with a house on the
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in England to a correspondent in The Hague, reported that van Dyck was recuperating from a long illness. In November, van Dyck's condition worsened, and he returned to England from Paris, where he had gone to paint
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972:. The conventional view has always been more favourable: "When Van Dyck came hither he brought Face-Painting to us; ever since which time ... England has excel'd all the World in that great Branch of the Art" (
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Quarters 1 & 4. Azure six roundels 3, 2 and 1 Or and for augmentation on a chief Gules a lion passant gardant Or. 2 & 3. Sable a saltire Or. Over all an inescutcheon Or thereon a bend sinister Azure
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A confusing number of different pigments used in painting have been called "Vandyke brown" (mostly in English-language sources). Some predate van Dyck, and it is not clear that he used any of them.
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as they wore out they continued to be printed for centuries, and the series added to, so that it reached over two hundred portraits by the late 18th century. In 1851, the plates were bought by the
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His Blackfriars studio was frequently visited by the King and Queen (later a special causeway was built to ease their access), who hardly sat for another painter while van Dyck lived.
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Van Dyck remained in touch with the English court and helped King Charles's agents in their search for pictures. He sent some of his own works, including a self-portrait (1623) with
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Etchers have studied Van Dyck ever since, for they can hope to approximate his brilliant directness, whereas nobody can hope to approach the complexity of Rembrandt's portraits.
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In the 17th century, demand for portraits was stronger than for other types of work. Van Dyck tried to persuade Charles to commission large-scale series on the history of the
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of mainly other artists and other famous contemporaries. He spent five years in Flanders after his return from Italy, and from 1630 was court painter for the Archduchess
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Anthony van Dyck was born in Antwerp on 22 March 1599 as the seventh of 12 children of his parents. He was baptized the next day in the Onze-Lieve-Vrouwekerk (now the
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Den Berendans (The Bear Dance) on the Grote Markt in Antwerp (Main Square) in 1579. On Anthony's mother's side there were also a few artists who were Guild members.
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after engraving had been added, sometimes obscuring his etching. He continued to add to the series until at least his departure for England, and presumably added
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Van Dyck worked in London for some months in 1621, then returned to Flanders for a brief time, before travelling to Italy, where he stayed until 1627, mostly in
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to work up: "Portrait etching had scarcely had an existence before his time, and in his work it suddenly appears at the highest point ever reached in the art".
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was highly influential as a commercial model for reproductive printmaking; now forgotten series of portrait prints were enormously popular until the advent of
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in New York had an exhibition "Van Dyck: The Anatomy of Portraiture", the first major survey of the artist's work in the United States in over two decades.
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863:. He died in Blackfriars, London on 9 December 1641, the same day as the baptism of his daughter Justiniana. He was buried on 11 December, in the choir of
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and others. However, most of his assistants and copyists could not approach the refinement of his manner, so compared to many masters consensus among
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was forced to sell, and he had been trying since his accession in 1625 to bring leading foreign painters to England. In 1626, he was able to persuade
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studied in van Dyck's workshop as one of van Dyck's last pupils. He became a very successful portrait and history painter in his native Antwerp.
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A list of history paintings produced by van Dyck in England survives. It was compiled by van Dyck's biographer Bellori, based on information from
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661:, was a somewhat pedestrian Dutchman. Charles was very short, less than 5 feet (1.5 m) tall, and presented challenges to a portrait artist.
2151:, in the Oxford Dictionary of National Biography, ed. H.C.G. Matthew and Brian Harrison, Oxford, 2004, XVII, pp. 466–475, Accessed 21 Feb. 2024.
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2019:. In English, a capitalised "Van" in "Van Dyck" was more usual until recent decades (used by Waterhouse for example), and the "
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and saw painting as a way of promoting his elevated view of the monarchy. In 1628, he bought the fabulous collection that the
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with half-length portraits of eminent contemporaries. He produced drawings, and for eighteen of the portraits he himself
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In Jordaens Van Dyck Panel Paintings Project. Edited by Joost Vander Auwera and Justin Davies, accessed 21 February 2024
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In fact it is not possible to document a connection to his studio for any English painter of any significance. Dutchman
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For the Genoese aristocracy, then in a final flush of prosperity, he developed a full-length portrait style, drawing on
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estimated to have painted forty portraits of King Charles himself, as well as about thirty of the Queen, nine of the
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subjects, including altarpieces, displayed outstanding facility as a draughtsman, and was an important innovator in
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Some critics have blamed van Dyck for diverting a nascent, tougher English portrait tradition—of painters such as
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in 1638. On 27 February 1640 he married Mary Ruthven, with whom he had one daughter. Mary was the daughter of
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Hans Vlieghe, "Thijs, Pieter." Grove Art Online. Oxford Art Online. Oxford University Press. 22 August 2019.
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on 18 October 1617. By this time, he was working in the studio of the leading northern painter of the day,
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Flanders, the Archduchess Isabella. In this period he also produced many religious works, including large
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1404:, was revealed as the painter's original after an exhaustive study and restoration project. Finally, The
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on attributions to him is usually relatively easy to reach, and museum labelling is now mostly updated (
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is reported to have said on his deathbed "We are all going to heaven, and Van Dyck is of the Company."
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2795:, by Nicholas Eastaugh, Valentine Walsh, Tracey Chaplin, Ruth Siddall, p. 388, 2008, Routledge,
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Charles I and Henrietta Maria with their two eldest children, Prince Charles and Princess Mary
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782:" style and dress, in fact a majority of his most important patrons in the nobility, such as
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3042:"'Retrato ecuestre de Francisco de Moncada' de Van Dyck – Noticias – Generalitat Valenciana"
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The Light of Nature, Landscape Drawings and Watercolours by Van Dyck and his Contemporaries
2515:. New York New Haven: Frick Collection; in association with Yale University Press. p. 247.
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1392:, in addition the institution has an original sketch. In addition, in December 2017, a
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Studies in the History of Art, vol. 46, 1994, pp. 16–46. JSTOR, Accessed 21 Feb. 2024.
1197:, "a wide collar across the shoulders edged copiously with lace". During the reign of
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Probably during his period in Antwerp after his return from Italy, van Dyck began his
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After his birth his family moved to a house called the Kasteel van Rijssel (Castle of
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2744:. Vol. 2 (1 ed.). United States: Greenwood Publishing Group. p. 103.
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stylish as possible. A life-size group portrait of twenty-four City Councillors of
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By the age of fifteen he was already a highly accomplished artist, as shown by his
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2642:, p. 165, Houghton Mifflin Co. 1923 (in USA), reprinted Dover Publications, 1963
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with long skinny arms and teeth like defence works projecting from her mouth..."
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for the sharply pointed and trimmed goatees popular for men in his day, and the
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627:, exemplifies the more intimate, but still elegant style he developed in England
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30:"Van Dyck" and "Vandyck" redirect here. For other persons with the surname, see
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2820:(paperback). St. Martin's Griffin (published 5 February 2013). p. 191.
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2216:, 4th Edn, 1978, pp. 70–77, Penguin Books (now Yale History of Art series)
2023:" spelling was often used during his lifetime and later (and is usual for
867:. His mortal remains and tomb (erected by the king) were destroyed in the
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in Vienna. Van Dyck's series of St Rosalia paintings have been studied by
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2990:"Dyck, Antonio van – La Virgen y el Niño con los pecadores arrepentidos"
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Young Anthony: Archival Discoveries Relating to Van Dyck's Early Career.
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2848:(hardcover). Harleian Society (published 1 January 2010). p. 472.
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Davies, Justin. 'A new date for Anthony van Dyck's free mastership'.
2027:). The Dutch "Dyck" is an old-fashioned contraction of the spelling "
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Katherine, Countess of Chesterfield, and Lucy, Countess of Huntingdon
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Much later, the styles worn by his models provided the names of the
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has revealed as its own a long-stored painting, added to another,
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King Charles I was the most passionate collector of art among the
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Wood, Jeremy (27 May 2010). "Dyck, Sir Anthony Van (1599–1641)".
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is named after him. During his lifetime, Charles I granted him a
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Crucifixion with the Virgin, Saint John and Saint Mary Magdalene
1173:(1635–36), a triple portrait of Charles I, was sent to Rome for
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The seventh child of Frans van Dyck, a wealthy silk merchant in
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2889:"Dyck, Anthony van – The Collection – Museo Nacional del Prado"
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is an early photographic printing process using such a colour.
587:'s painting of Saint Rosalia by Van Dyck in the context of the
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The Royal Stuarts: A History of the Family That Shaped Britain
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2322:"The Saint Who Stopped an Epidemic Is on Lockdown at the Met"
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The Greenwood Encyclopedia of Clothing through World History
2685:, Metropolitan Museum of Art. Princeton, 1971, no. 433-35,
944:
Van Dyck's portraits flattered more than Velázquez's. When
1688:
Equestrian Portrait of Thomas Francis, Prince of Carignano
351:, an indication of his standing at the time of his death.
2832:
Van Dyck was knighted and anglicised his name to Vandyke.
2303:"2012: Van Dyck in Sicily | Dulwich Picture Gallery"
1384:, two centuries after its removal and, subsequently, The
648:
to settle in England, later to be joined by his daughter
300:
he returned in 1632 to London as the main court painter.
3659:
Thetis Receiving the Weapons of Achilles from Hephaestus
830:, who, although the title was forfeited, styled himself
1257:. The coat of arms is crested with a greyhound's head.
406:
as a free master on Saint Luke's day, 18 October 1617.
3884:
Lord John Stuart and his Brother, Lord Bernard Stuart
3412:
Saint Ambrose barring Theodosius from Milan Cathedral
617:
Lord John Stuart and his Brother, Lord Bernard Stuart
284:. In the late 1620s he completed his greatly admired
2712:
Dutch Portraits, The Age of Rembrandt and Frans Hals
2416:"Lemon, Margaret (b. c. 1614–1643?), artist's model"
2250:, Weidenfeld & Nicolson, London, 1971, pp. 124–5
1390:
The Virgin with the Child with the repentant sinners
1201:, a generic "Cavalier" fancy-dress costume called a
936:. None of these works appear to remain, except the
409:
Within a few years he became the chief assistant to
3966:
3939:
3894:
3685:
3618:
3570:
3332:
2345:
2343:
2341:
2339:
2337:
2335:
296:, Habsburg Governor of Flanders. At the request of
210:
183:
173:
165:
150:
140:
118:
96:
67:
3667:Venus Asks Vulcan to Forge Arms for her Son Aeneas
2414:
1031:the heads and main outlines of the figure, for an
691:principalle Paynter in ordinary to their majesties
339:His influence extends into the modern period. The
1437:houses a small collection of van Dycks including
1154:in 1638 to become the leading portraitist there.
1142:attributions may be more dubious in some cases).
563:Saint Rosalia Interceding for the City of Palermo
2059:Moortgat, Ingrid. “Baptism of Antonio Van Dyck.”
1412:(currently undergoing restoration, April 2020).
2964:"Annotated works | The Bilbao Fine Arts Museum"
2846:The Heraldry of Foreigners in England 1400-1700
2365:Exhibition of the Works of Sir Anthony Van Dyck
1410:Equestrian Portrait of Don Francisco de Moncada
1102:
679:. He had also painted Charles's sister, Queen
402:dated 1613–14. He was admitted to the Antwerp
246:; 22 March 1599 – 9 December 1641) was a
3301:
3108:"As a child I loved the glamour of these men"
1991:In Dutch, his first name is also attested as
1386:Real Academia de Bellas Artes de San Fernando
1288:
1096:in the last major phase of portrait etching.
851:after he was freed from French imprisonment.
8:
3185:(online ed.). Oxford University Press.
2775:, p, 147, 1977 (3rd edn.), Faber and Faber,
2491:
2489:
2487:
2425:(online ed.). Oxford University Press.
2386:Culture and Politics in Early Stuart England
277:, who became a major influence on his work.
3750:Equestrian Portrait of Francisco de Moncada
3308:
3294:
3286:
3250:
2595:p99: London; Chapman & Hall, Ltd; 1909
2389:. Stanford University Press. p. 223.
2362:Grosvenor Gallery; Stephens, F.G. (1887).
1890:Rachel de Ruvigny, Countess of Southampton
1400:and was previously considered the work of
675:(1629), and a religious picture for Queen
80:
64:
3246:Jordaens Van Dyck Panel Paintings Project
2657:
2655:
2368:. H. Good and Son, Printers. p. 14.
2279:Bailey, Gauvin Alexander (1 March 2012).
2126:
2124:
2122:
2120:
1219:advertised a figure, after a portrait by
1150:(1604–1671) returned to his native city,
3469:The Vision of the Blessed Hermann Joseph
2988:Fernando, Real Academia de BBAA de San.
2574:
2572:
2106:
2104:
1587:The Vision of the Blessed Hermann Joseph
1264:
1163:
986:
878:
752:Portrait of van Dyck's wife Mary Ruthven
610:
501:
477:Landscape with a Gnarled Tree and a Farm
415:
3876:Mary Villiers, Lady Herbert of Shurland
3223:The National Portrait Gallery: Van Dyck
3182:Oxford Dictionary of National Biography
2710:Rudi Ekkart and Quentin Buvelot (eds),
2665:, Cincinnati Art Museum, 1993, no. 72,
2632:
2630:
2422:Oxford Dictionary of National Biography
2291:(596): 116–122 – via go.gale.com.
2166:, Yale University Press, 2004, p. 124;
2163:Flemish Art and Architecture, 1585–1700
2048:
1984:
1456:
451:George Villiers, Marquess of Buckingham
3923:Self-portrait with Sir Endymion Porter
3799:The Three Eldest Children of Charles I
3790:The Three Eldest Children of Charles I
3643:Diana and a Nymph Surprised by a Satyr
2661:Becker, D. P., in KL Spangeberg (ed),
2208:
2054:
2052:
1023:, which became a very large series of
723:Worshipful Company of Painter-Stainers
3840:Queen Henrietta Maria as St Catherine
2413:James, Susan E. (23 September 2004).
2408:
2406:
2206:
2204:
2202:
2200:
2198:
2196:
2194:
2192:
2190:
2188:
2144:
2142:
1973:List of paintings by Anthony van Dyck
1795:Portrait of Mary Hill, Lady Killigrew
1347:have examples of his portrait style.
1295:(Spain) (twenty-five Works, such as:
806:that broke out soon after his death.
241:
7:
3956:Mucius Scaevola before Lars Porsenna
3152:. Royal Academy Publications, 1999.
2578:Michael Jaffé. "Dyck, Anthony van".
2513:Van Dyck: The Anatomy of Portraiture
2349:
1849:William Russell, 1st Duke of Bedford
1811:Princess Mary, Daughter of Charles I
1447:William Russell, 1st Duke of Bedford
854:A letter dated 13 August 1641, from
721:, thus avoiding the monopoly of the
316:for over 150 years. He also painted
3766:Thomas Francis, Prince of Carignano
3046:www.museobellasartesvalencia.gva.es
2591:"Memorials of St Paul's Cathedral"
2580:Grove Art Online. Oxford Art Online
2149:Jeremy Wood, 'Sir Anthony van Dyck'
1950:Portrait of Gaston, Duke of Orléans
1847:, English Royalist politician with
1445:, English Royalist politician with
3816:Triple Portrait of Henrietta Maria
2639:A History of Engraving and Etching
1370:Lamentation before the dead Christ
1297:Self-portrait with Endymion Porter
1245:his name to Vandyke. The heraldic
978:An Essay on the Theory of Painting
27:Flemish Baroque artist (1599–1641)
25:
3477:Madonna and Child with Two Donors
2943:Museo Nacional Thyssen-Bornemisza
2918:Museo Nacional Thyssen-Bornemisza
2262:"Desperately Painting the Plague"
2114:165 (February 2023), pp. 162–165.
1845:George Digby, 2nd Earl of Bristol
1830:Royal Museum of Fine Arts Antwerp
1443:George Digby, 2nd Earl of Bristol
1274:Royal Museum of Fine Arts Antwerp
495:, by appearing with "the pomp of
3808:Equestrian Portrait of Charles I
3520:Lamentation over the Dead Christ
2307:www.dulwichpicturegallery.org.uk
2260:Cotter, Holland (29 July 2005).
1941:
1907:
1882:
1859:
1836:
1821:
1803:
1786:
1769:
1754:Equestrian Portrait of Charles I
1745:
1720:
1696:
1679:
1672:Venetia Stanley on her Death Bed
1664:
1647:
1632:
1601:
1578:
1561:
1538:
1523:
1500:
1473:
1459:
843:. In 1640 he accompanied prince
771:Equestrian Portrait of Charles V
307:, van Dyck and his contemporary
254:in England after success in the
216:
3742:Charles I with M. de St Antoine
3461:The Coronation of Saint Rosalia
3357:Saint Martin Dividing his Cloak
2582:. Oxford University Press. Web.
2536:, vol.iv, London, 1916, p. 385n
2320:Farago, Jason (26 March 2020).
1674:, 1633, Dulwich Picture Gallery
1656:Charles I with M. de St Antoine
1406:Museum of Fine Arts of Valencia
668:, one of Charles's agents, his
657:. Charles's court portraitist,
583:published an article about the
449:In 1620, at the instigation of
196:
4083:Burials at St Paul's Cathedral
4058:Principal Painters in Ordinary
3915:Self-Portrait with a Sunflower
3341:Entry of Christ into Jerusalem
2769:The painting, Royal Collection
2663:Six Centuries of Master Prints
2617:, British Museum Press, 1999,
2214:Painting in Britain, 1530–1790
1358:the Portrait of Jacques Le Roy
465:that he first saw the work of
88:Self-Portrait with a Sunflower
1:
4053:17th-century English painters
3485:Rest on the Flight into Egypt
3267:Principal Painter in Ordinary
2383:Sharpe, K.; Lake, P. (1993).
2131:Van der Stichelen, Katlijne.
1893:
1758:
1731:
1709:
1614:
1610:Rest on the Flight into Egypt
1590:
1551:
1513:
1486:
887:
754:
621:
608:, and began his printmaking.
3974:Hendrick van Balen the Elder
3782:Charles I in Three Positions
3610:Munich (autograph or studio)
3199:UK public library membership
2914:"Portrait of Jacques Le Roy"
2456:UK public library membership
2088:Netherlands Institute of Art
1901:National Gallery of Victoria
1378:Martyrdom of Saint Sebastian
1205:was popular. Gainsborough's
1170:Charles I in Three Positions
541:. Versions include those in
487:Northern artist's colony in
457:, receiving £100. It was in
393:Hendrick van Balen the Elder
4088:Pupils of Peter Paul Rubens
3163:Cust, Lionel Henry (1899).
3094:"Past Exhibition: Van Dyck"
2553:(in Polish). Archived from
1815:Museum of Fine Arts, Boston
1739:Yale Center for British Art
1341:Museum of Fine Arts, Boston
1315:, the painter's Wife), The
1043:Pieter Brueghel the Younger
902:Banqueting House, Whitehall
567:Coronation of Saint Rosalia
4104:
3718:Cardinal Guido Bentivoglio
3020:www.culturaydeporte.gob.es
2740:Condra, Jill, ed. (2008).
1867:Portrait of Jacques Le Roy
1547:Anton Giulio Brignole-Sale
1482:Christ Crowned with Thorns
1305:Christ Crowned with Thorns
585:Metropolitan Museum of Art
45:
36:
29:
4048:English portrait painters
4028:Flemish portrait painters
3824:Mary Hill, Lady Killigrew
3323:
3274:
3264:
3258:
3253:
3213:The Oliver Millar Archive
2844:Siddons, Michael (2010).
1871:Thyssen-Bornemisza Museum
1851:("War and Peace"), 1637,
1467:Christ carrying the Cross
1354:Thyssen-Bornemisza Museum
1002:pen and wash drawings or
998:A fairly small number of
875:Portraits and other works
461:in the collection of the
314:English portrait-painting
243:[ˈɑntoːɱvɑnˈdɛik]
238:
224:
215:
206:
79:
4038:Flemish Baroque painters
4033:Flemish history painters
3381:The Crowning with Thorns
2613:Royalton-Kisch, Martin.
2225:Martin, op and page cit.
1313:Portrait of Mary Ruthven
1285:National Gallery, London
994:, a late double portrait
717:, then just outside the
39:Anthony Van Dyck (horse)
3856:Magistrates of Brussels
3848:Luigia Cattaneo-Gentile
3734:Gaston, Duke of Orléans
3509:Madonna with Partridges
3241:. Inventory no. 404429.
3174:– via Wikisource.
3096:. The Frick Collection.
2874:3 February 2014 at the
2532:Cokayne, G. E., et al,
2112:The Burlington Magazine
1509:Luigia Cattaneo-Gentile
1396:, which is kept in The
1366:Bilbao Fine Arts Museum
1333:National Gallery of Art
571:Gauvin Alexander Bailey
517:He was mostly based in
347:, and he was buried in
250:who became the leading
37:For the racehorse, see
3948:A Soldier on Horseback
3694:Cornelis van der Geest
3437:Susanna and the Elders
3388:The Betrayal of Christ
3238:Royal Collection Trust
3233:"Sir Anthony Van Dyck"
3191:10.1093/ref:odnb/28081
3068:Van Dyck & Britain
2816:Massie, Allan (2013).
2681:Mayor, Alpheus Hyatt.
2470:English Court Painting
2431:10.1093/ref:odnb/72128
1640:Marie-Louise de Tassis
1420:Van Dyck & Britain
1323:(eighteen works), the
1289:
1287:(fourteen works), The
1276:
1181:
1122:
1106:
1050:
995:
929:
893:
764:
725:. A suite of rooms in
705:
628:
514:
483:
424:
384:
303:With the exception of
248:Flemish Baroque artist
4068:Painters from Antwerp
3774:Charles I at the Hunt
3619:Mythological subjects
3605:Palermo (studio work)
3571:Saint Rosalia series
3453:The Mocking of Christ
3215:; research papers of
2939:"Christ on the Cross"
2878:Paintings by Van Dyck
2773:Old English Porcelain
1923:with her husband the
1828:The apostle Matthew,
1705:Charles I at the Hunt
1422:in 2009. In 2016 the
1376:of Spain recovered a
1270:Lamentation of Christ
1268:
1227:in a Vandyck dress".
1167:
1116:
1049:; etching by van Dyck
1041:
990:
914:
882:
750:
700:
614:
505:
493:Giovan Pietro Bellori
479:, Pen and brown ink,
475:
434:Carolus Borromeuskerk
419:
379:
360:Family and early life
4073:Artists from Antwerp
3758:Francisco de Moncada
3726:The Lomellini Family
3148:Brown, Christopher:
2994:Academia Colecciones
2893:www.museodelprado.es
2604:Levey, op cit p. 136
2547:"Portret królewicza"
2534:The Complete Peerage
1737:–40, oil on canvas,
1418:held the exhibition
1309:The taking of Christ
1177:to model a bust on.
1053:He left most of the
869:Great Fire of London
681:Elizabeth of Bohemia
565:in Puerto Rico, and
421:The Lomellini family
298:Charles I of England
231:Sir Anthony van Dyck
4063:Baroque printmakers
3729:(c. 1625–1627)
3635:Jupiter and Antiope
3415:(c. 1619–1620)
3376:(c. 1618–1620)
3373:The Apostle Matthew
3126:on 26 February 2016
3112:The Daily Telegraph
3065:Karen Hearn (ed.),
2968:www.museobilbao.com
1380:and returned it to
1374:Patrimonio Nacional
1121:by Anthony van Dyck
982:Thomas Gainsborough
974:Jonathan Richardson
898:Order of the Garter
865:St Paul's Cathedral
404:Guild of Saint Luke
370:Guild of Saint Luke
349:St Paul's Cathedral
288:series of portrait
256:Spanish Netherlands
112:Spanish Netherlands
3861:Preparatory sketch
3801:(Royal Collection)
3651:The Shepherd Paris
3419:Samson and Delilah
3365:The Brazen Serpent
3333:Religious subjects
3165:"Van Dyck Anthony"
3150:Van Dyck 1599–1641
3114:. 20 August 1999.
2793:Pigment Compendium
2326:The New York Times
2266:The New York Times
2212:Ellis Waterhouse,
2084:"Anthony van Dyck"
1429:The estate of the
1277:
1237:When van Dyck was
1211:is wearing such a
1182:
1123:
1066:whilst in London.
1051:
996:
992:The Cheeke Sisters
930:
925:Sir Jeffrey Hudson
894:
884:Samson and Delilah
861:Cardinal Richelieu
765:
706:
646:Orazio Gentileschi
629:
515:
484:
455:James I of England
425:
385:
155:Hendrick van Balen
134:Kingdom of England
32:Van Dyck (surname)
4000:
3999:
3980:Peter Paul Rubens
3832:William Killigrew
3445:Madonna and Child
3326:List of paintings
3284:
3283:
3275:Succeeded by
3229:Peter Paul Rubens
3197:(Subscription or
3081:978-1-85437-795-1
2827:978-1-250-02492-3
2803:, 9781136373923,
2791:"Vandyke brown",
2751:978-0-313-33664-5
2720:978-1-85709-362-9
2701:Brown, pp. 84–86.
2683:Prints and People
2454:(Subscription or
2440:978-0-19-861412-8
2396:978-0-8047-2261-2
2248:Painting at Court
1959:Chantilly, France
1441:(Portrait of Sir
1394:Virgin with Child
1301:The Metal Serpent
1215:outfit. In 1774
946:Sophia of Hanover
941:individualistic.
908:without success.
820:granted van Dyck
804:English Civil War
786:and the Earls of
742:Earl of Strafford
704:April–August 1632
575:Xavier F. Salomon
511:Peter Paul Rubens
411:Peter Paul Rubens
366:Antwerp Cathedral
275:Peter Paul Rubens
228:
227:
160:Peter Paul Rubens
101:Anthonio van Dyck
16:(Redirected from
4095:
4043:Knights Bachelor
3675:Cupid and Psyche
3501:The Resurrection
3317:Anthony van Dyck
3310:
3303:
3296:
3287:
3259:Preceded by
3251:
3242:
3202:
3194:
3175:
3173:
3171:
3136:
3135:
3133:
3131:
3122:. Archived from
3104:
3098:
3097:
3090:
3084:
3063:
3057:
3056:
3054:
3052:
3038:
3032:
3031:
3029:
3027:
3016:"Anton Van Dyck"
3012:
3006:
3005:
3003:
3001:
2985:
2979:
2978:
2976:
2974:
2960:
2954:
2953:
2951:
2949:
2935:
2929:
2928:
2926:
2924:
2910:
2904:
2903:
2901:
2899:
2885:
2879:
2869:Royal Collection
2866:
2860:
2859:
2841:
2835:
2834:
2813:
2807:
2789:
2783:
2766:
2760:
2759:
2737:
2731:
2728:
2722:
2708:
2702:
2699:
2693:
2679:
2673:
2659:
2650:
2636:Arthur M. Hind,
2634:
2625:
2611:
2605:
2602:
2596:
2589:
2583:
2576:
2567:
2566:
2564:
2562:
2543:
2537:
2530:
2524:
2502:
2496:
2493:
2482:
2479:
2473:
2468:Gaunt, William,
2466:
2460:
2459:
2451:
2449:
2447:
2418:
2410:
2401:
2400:
2380:
2374:
2373:
2359:
2353:
2347:
2330:
2329:
2317:
2311:
2310:
2299:
2293:
2292:
2276:
2270:
2269:
2257:
2251:
2241:
2235:
2232:
2226:
2223:
2217:
2210:
2183:
2180:
2174:
2158:
2152:
2146:
2137:
2128:
2115:
2108:
2099:
2098:
2096:
2094:
2080:
2074:
2068:
2062:
2056:
2036:
1989:
1953:, 1632 or 1634.
1945:
1925:Prince of Orange
1911:
1898:
1895:
1886:
1863:
1843:Portrait of Sir
1840:
1825:
1807:
1790:
1778:Cupid and Psyche
1773:
1763:
1760:
1749:
1736:
1733:
1724:
1714:
1711:
1700:
1683:
1668:
1651:
1636:
1619:
1616:
1605:
1595:
1592:
1582:
1565:
1556:
1553:
1542:
1527:
1518:
1515:
1504:
1491:
1488:
1477:
1463:
1424:Frick Collection
1362:Crucified Christ
1345:Frick Collection
1337:Washington, D.C.
1294:
1281:Royal Collection
1179:Royal Collection
1157:Flemish painter
1148:Adriaen Hanneman
1072:Calcographie du
1007:detailed are of
934:Sir Kenelm Digby
892:
889:
759:
756:
632:London and death
626:
623:
507:Anthony van Dyck
245:
240:
220:
200:
198:
125:
84:
74:Anthony van Dyck
65:
21:
4103:
4102:
4098:
4097:
4096:
4094:
4093:
4092:
4023:Flemish etchers
4003:
4002:
4001:
3996:
3962:
3940:Other paintings
3935:
3890:
3702:Theresa Shirley
3681:
3627:Drunken Silenus
3614:
3572:
3566:
3328:
3319:
3314:
3280:
3271:
3262:
3227:
3209:
3196:
3178:
3169:
3167:
3162:
3145:
3140:
3139:
3129:
3127:
3106:
3105:
3101:
3092:
3091:
3087:
3073:Tate Publishing
3064:
3060:
3050:
3048:
3040:
3039:
3035:
3025:
3023:
3014:
3013:
3009:
2999:
2997:
2987:
2986:
2982:
2972:
2970:
2962:
2961:
2957:
2947:
2945:
2937:
2936:
2932:
2922:
2920:
2912:
2911:
2907:
2897:
2895:
2887:
2886:
2882:
2876:Wayback Machine
2867:
2863:
2856:
2843:
2842:
2838:
2828:
2815:
2814:
2810:
2790:
2786:
2771:; Honey, W.B.,
2767:
2763:
2752:
2739:
2738:
2734:
2729:
2725:
2709:
2705:
2700:
2696:
2680:
2676:
2660:
2653:
2635:
2628:
2612:
2608:
2603:
2599:
2590:
2586:
2577:
2570:
2560:
2558:
2557:on 27 June 2009
2545:
2544:
2540:
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2503:
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2494:
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2480:
2476:
2467:
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2412:
2411:
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2382:
2381:
2377:
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2360:
2356:
2348:
2333:
2319:
2318:
2314:
2301:
2300:
2296:
2278:
2277:
2273:
2259:
2258:
2254:
2242:
2238:
2234:Brown, page 19.
2233:
2229:
2224:
2220:
2211:
2186:
2181:
2177:
2160:Vlieghe, Hans.
2159:
2155:
2147:
2140:
2129:
2118:
2109:
2102:
2092:
2090:
2082:
2081:
2077:
2069:
2065:
2057:
2050:
2045:
2040:
2039:
2025:the beard style
1990:
1986:
1981:
1969:
1962:
1946:
1937:
1912:
1903:
1896:
1887:
1878:
1864:
1855:
1841:
1832:
1826:
1817:
1808:
1799:
1791:
1782:
1774:
1765:
1761:
1750:
1741:
1734:
1725:
1716:
1712:
1701:
1692:
1684:
1675:
1669:
1660:
1652:
1643:
1642:, Antwerp, 1630
1637:
1628:
1622:Alte Pinakothek
1617:
1606:
1597:
1593:
1583:
1574:
1570:Nicholas Lanier
1566:
1557:
1554:
1543:
1534:
1528:
1519:
1516:
1505:
1496:
1489:
1478:
1469:
1464:
1455:
1398:Cerralbo Museum
1368:houses a great
1325:Alte Pinakothek
1291:Museo del Prado
1263:
1217:Derby porcelain
1195:van Dyke collar
1187:
1119:Adriaen Brouwer
1111:
1017:
938:Eros and Psyche
917:Henrietta Maria
890:
877:
836:lady-in-waiting
828:Patrick Ruthven
800:Parliamentarian
762:Museo del Prado
757:
677:Henrietta Maria
666:Endymion Porter
634:
624:
463:Earl of Arundel
447:
362:
357:
309:Diego Velázquez
239:Antoon van Dyck
202:
199: 1640)
194:
190:
158:
136:
127:
123:
122:9 December 1641
114:
105:
103:
102:
92:
75:
72:
63:
42:
35:
28:
23:
22:
18:Antony van Dyck
15:
12:
11:
5:
4101:
4099:
4091:
4090:
4085:
4080:
4078:Stepney family
4075:
4070:
4065:
4060:
4055:
4050:
4045:
4040:
4035:
4030:
4025:
4020:
4015:
4005:
4004:
3998:
3997:
3995:
3994:
3992:Van Dyke beard
3989:
3988:(collaborator)
3983:
3977:
3970:
3968:
3964:
3963:
3961:
3960:
3959:(c. 1618–1620)
3952:
3943:
3941:
3937:
3936:
3934:
3933:
3927:
3919:
3911:
3905:
3898:
3896:
3895:Self-portraits
3892:
3891:
3889:
3888:
3880:
3872:
3864:
3852:
3844:
3836:
3828:
3820:
3812:
3804:
3795:
3786:
3785:(1635 or 1636)
3778:
3770:
3762:
3754:
3746:
3738:
3737:(1632 or 1634)
3730:
3722:
3714:
3710:Robert Shirley
3706:
3698:
3689:
3687:
3683:
3682:
3680:
3679:
3671:
3663:
3655:
3647:
3639:
3631:
3622:
3620:
3616:
3615:
3613:
3612:
3607:
3602:
3597:
3592:
3587:
3582:
3576:
3574:
3568:
3567:
3565:
3564:
3563:
3562:
3557:
3552:
3547:
3542:
3537:
3532:
3527:
3513:
3505:
3497:
3489:
3481:
3473:
3465:
3457:
3449:
3441:
3440:(c. 1631–1632)
3433:
3432:
3431:
3426:
3416:
3408:
3407:
3406:
3401:
3396:
3385:
3377:
3369:
3368:(c. 1618–1620)
3361:
3353:
3345:
3336:
3334:
3330:
3329:
3324:
3321:
3320:
3315:
3313:
3312:
3305:
3298:
3290:
3282:
3281:
3278:Sir Peter Lely
3276:
3273:
3263:
3260:
3256:
3255:
3254:Court offices
3249:
3248:
3243:
3225:
3220:
3208:
3207:External links
3205:
3204:
3203:
3176:
3160:
3144:
3141:
3138:
3137:
3099:
3085:
3058:
3033:
3007:
2980:
2955:
2930:
2905:
2880:
2861:
2854:
2836:
2826:
2808:
2784:
2761:
2750:
2732:
2723:
2703:
2694:
2674:
2651:
2626:
2606:
2597:
2584:
2568:
2538:
2525:
2505:Stijn Alsteens
2497:
2483:
2474:
2461:
2439:
2402:
2395:
2375:
2354:
2331:
2312:
2294:
2271:
2252:
2244:Levey, Michael
2236:
2227:
2218:
2184:
2175:
2153:
2138:
2116:
2100:
2075:
2063:
2047:
2046:
2044:
2041:
2038:
2037:
1983:
1982:
1980:
1977:
1976:
1975:
1968:
1965:
1964:
1963:
1947:
1940:
1938:
1919:, daughter of
1913:
1906:
1904:
1888:
1881:
1879:
1865:
1858:
1856:
1842:
1835:
1833:
1827:
1820:
1818:
1813:, about 1637,
1809:
1802:
1800:
1792:
1785:
1783:
1775:
1768:
1766:
1751:
1744:
1742:
1726:
1719:
1717:
1702:
1695:
1693:
1685:
1678:
1676:
1670:
1663:
1661:
1653:
1646:
1644:
1638:
1631:
1629:
1607:
1600:
1598:
1584:
1577:
1575:
1567:
1560:
1558:
1544:
1537:
1535:
1531:Elena Grimaldi
1529:
1522:
1520:
1506:
1499:
1497:
1479:
1472:
1470:
1465:
1458:
1454:
1451:
1262:
1259:
1232:Van Dyke brown
1221:Johann Zoffany
1191:Van Dyke beard
1186:
1183:
1136:art historians
1110:
1107:
1016:
1013:
954:William Dobson
876:
873:
856:Lady Roxburghe
818:letters patent
792:Northumberland
731:Margaret Lemon
719:City of London
642:Duke of Mantua
633:
630:
580:New York Times
539:Pietro Novelli
446:
443:
361:
358:
356:
353:
341:Van Dyke beard
226:
225:
222:
221:
213:
212:
208:
207:
204:
203:
192:
188:
187:
185:
181:
180:
175:
171:
170:
167:
166:Known for
163:
162:
152:
148:
147:
142:
138:
137:
128:
126:(aged 42)
120:
116:
115:
106:
100:
98:
94:
93:
85:
77:
76:
73:
68:
26:
24:
14:
13:
10:
9:
6:
4:
3:
2:
4100:
4089:
4086:
4084:
4081:
4079:
4076:
4074:
4071:
4069:
4066:
4064:
4061:
4059:
4056:
4054:
4051:
4049:
4046:
4044:
4041:
4039:
4036:
4034:
4031:
4029:
4026:
4024:
4021:
4019:
4016:
4014:
4011:
4010:
4008:
3993:
3990:
3987:
3984:
3981:
3978:
3975:
3972:
3971:
3969:
3965:
3958:
3957:
3953:
3950:
3949:
3945:
3944:
3942:
3938:
3931:
3928:
3925:
3924:
3920:
3917:
3916:
3912:
3909:
3906:
3903:
3900:
3899:
3897:
3893:
3886:
3885:
3881:
3878:
3877:
3873:
3870:
3869:
3868:Olivia Porter
3865:
3863:) (1634–1635)
3862:
3858:
3857:
3853:
3850:
3849:
3845:
3842:
3841:
3837:
3834:
3833:
3829:
3826:
3825:
3821:
3818:
3817:
3813:
3810:
3809:
3805:
3802:
3800:
3796:
3793:
3791:
3787:
3784:
3783:
3779:
3776:
3775:
3771:
3768:
3767:
3763:
3760:
3759:
3755:
3752:
3751:
3747:
3744:
3743:
3739:
3736:
3735:
3731:
3728:
3727:
3723:
3720:
3719:
3715:
3712:
3711:
3707:
3704:
3703:
3699:
3696:
3695:
3691:
3690:
3688:
3684:
3677:
3676:
3672:
3669:
3668:
3664:
3661:
3660:
3656:
3653:
3652:
3648:
3645:
3644:
3640:
3637:
3636:
3632:
3629:
3628:
3624:
3623:
3621:
3617:
3611:
3608:
3606:
3603:
3601:
3598:
3596:
3593:
3591:
3588:
3586:
3583:
3581:
3578:
3577:
3575:
3569:
3561:
3558:
3556:
3553:
3551:
3548:
3546:
3543:
3541:
3538:
3536:
3533:
3531:
3528:
3526:
3523:
3522:
3521:
3517:
3514:
3511:
3510:
3506:
3503:
3502:
3498:
3495:
3494:
3490:
3487:
3486:
3482:
3479:
3478:
3474:
3471:
3470:
3466:
3463:
3462:
3458:
3455:
3454:
3450:
3447:
3446:
3442:
3439:
3438:
3434:
3430:
3427:
3425:
3422:
3421:
3420:
3417:
3414:
3413:
3409:
3405:
3402:
3400:
3397:
3395:
3392:
3391:
3389:
3386:
3383:
3382:
3378:
3375:
3374:
3370:
3367:
3366:
3362:
3359:
3358:
3354:
3351:
3350:
3346:
3343:
3342:
3338:
3337:
3335:
3331:
3327:
3322:
3318:
3311:
3306:
3304:
3299:
3297:
3292:
3291:
3288:
3279:
3270:
3268:
3257:
3252:
3247:
3244:
3240:
3239:
3234:
3230:
3226:
3224:
3221:
3218:
3217:Oliver Millar
3214:
3211:
3210:
3206:
3200:
3192:
3188:
3184:
3183:
3177:
3166:
3161:
3159:
3158:0-900946-66-0
3155:
3151:
3147:
3146:
3142:
3125:
3121:
3117:
3113:
3109:
3103:
3100:
3095:
3089:
3086:
3082:
3078:
3074:
3070:
3069:
3062:
3059:
3047:
3043:
3037:
3034:
3021:
3017:
3011:
3008:
2995:
2991:
2984:
2981:
2969:
2965:
2959:
2956:
2944:
2940:
2934:
2931:
2919:
2915:
2909:
2906:
2894:
2890:
2884:
2881:
2877:
2873:
2870:
2865:
2862:
2857:
2855:9780954044336
2851:
2847:
2840:
2837:
2833:
2829:
2823:
2819:
2812:
2809:
2806:
2802:
2798:
2794:
2788:
2785:
2782:
2778:
2774:
2770:
2765:
2762:
2758:
2753:
2747:
2743:
2736:
2733:
2727:
2724:
2721:
2717:
2713:
2707:
2704:
2698:
2695:
2692:
2691:0-691-00326-2
2688:
2684:
2678:
2675:
2672:
2671:0-931537-15-0
2668:
2664:
2658:
2656:
2652:
2649:
2648:0-486-20954-7
2645:
2641:
2640:
2633:
2631:
2627:
2624:
2623:0-7141-2621-7
2620:
2616:
2610:
2607:
2601:
2598:
2594:
2588:
2585:
2581:
2575:
2573:
2569:
2556:
2552:
2548:
2542:
2539:
2535:
2529:
2526:
2522:
2521:9780300212051
2518:
2514:
2510:
2506:
2501:
2498:
2492:
2490:
2488:
2484:
2481:Levey, p. 128
2478:
2475:
2471:
2465:
2462:
2457:
2442:
2436:
2432:
2428:
2424:
2423:
2417:
2409:
2407:
2403:
2398:
2392:
2388:
2387:
2379:
2376:
2372:
2367:
2366:
2358:
2355:
2351:
2346:
2344:
2342:
2340:
2338:
2336:
2332:
2327:
2323:
2316:
2313:
2308:
2304:
2298:
2295:
2290:
2286:
2282:
2275:
2272:
2267:
2263:
2256:
2253:
2249:
2245:
2240:
2237:
2231:
2228:
2222:
2219:
2215:
2209:
2207:
2205:
2203:
2201:
2199:
2197:
2195:
2193:
2191:
2189:
2185:
2182:Brown, p. 17.
2179:
2176:
2173:
2172:0-300-10469-3
2169:
2165:
2164:
2157:
2154:
2150:
2145:
2143:
2139:
2135:
2134:
2127:
2125:
2123:
2121:
2117:
2113:
2107:
2105:
2101:
2089:
2085:
2079:
2076:
2072:
2067:
2064:
2060:
2055:
2053:
2049:
2042:
2034:
2030:
2026:
2022:
2018:
2014:
2010:
2006:
2002:
1998:
1994:
1988:
1985:
1978:
1974:
1971:
1970:
1966:
1960:
1956:
1952:
1951:
1944:
1939:
1935:
1931:
1927:
1926:
1922:
1918:
1910:
1905:
1902:
1891:
1885:
1880:
1876:
1872:
1868:
1862:
1857:
1854:
1850:
1846:
1839:
1834:
1831:
1824:
1819:
1816:
1812:
1806:
1801:
1797:
1796:
1789:
1784:
1780:
1779:
1772:
1767:
1756:
1755:
1748:
1743:
1740:
1729:
1723:
1718:
1707:
1706:
1699:
1694:
1690:
1689:
1682:
1677:
1673:
1667:
1662:
1658:
1657:
1650:
1645:
1641:
1635:
1630:
1627:
1623:
1612:
1611:
1604:
1599:
1589:
1588:
1581:
1576:
1572:
1571:
1564:
1559:
1549:
1548:
1541:
1536:
1533:, Genoa, 1623
1532:
1526:
1521:
1511:
1510:
1503:
1498:
1495:
1484:
1483:
1476:
1471:
1468:
1462:
1457:
1452:
1450:
1448:
1444:
1440:
1439:War and Peace
1436:
1432:
1427:
1425:
1421:
1417:
1413:
1411:
1407:
1403:
1399:
1395:
1391:
1387:
1383:
1379:
1375:
1371:
1367:
1363:
1359:
1355:
1350:
1346:
1342:
1338:
1334:
1330:
1326:
1322:
1318:
1314:
1310:
1306:
1302:
1298:
1293:
1292:
1286:
1282:
1275:
1271:
1267:
1260:
1258:
1256:
1252:
1248:
1244:
1240:
1235:
1233:
1228:
1226:
1222:
1218:
1214:
1210:
1209:
1204:
1200:
1196:
1192:
1184:
1180:
1176:
1172:
1171:
1166:
1162:
1160:
1155:
1153:
1149:
1143:
1141:
1140:country house
1137:
1133:
1127:
1120:
1115:
1108:
1105:
1101:
1099:
1095:
1091:
1087:
1083:
1078:
1076:
1075:
1067:
1065:
1061:
1056:
1048:
1044:
1040:
1036:
1034:
1030:
1026:
1022:
1014:
1012:
1010:
1005:
1001:
993:
989:
985:
983:
980:, 1715, 41).
979:
975:
971:
967:
963:
959:
958:Robert Walker
955:
950:
947:
942:
939:
935:
927:
926:
922:
918:
913:
909:
907:
903:
899:
885:
881:
874:
872:
870:
866:
862:
857:
852:
850:
846:
842:
837:
833:
829:
825:
824:
819:
815:
812:
807:
805:
801:
797:
793:
789:
785:
781:
777:
773:
772:
763:
753:
749:
745:
743:
737:
734:
732:
728:
727:Eltham Palace
724:
720:
716:
712:
703:
699:
695:
693:
692:
686:
682:
678:
674:
673:
667:
662:
660:
659:Daniel Mytens
656:
651:
647:
643:
639:
631:
619:
618:
613:
609:
607:
602:
597:
592:
590:
586:
582:
581:
576:
572:
568:
564:
561:, as well as
560:
556:
552:
548:
544:
540:
536:
535:Luca Giordano
532:
531:Saint Rosalia
528:
524:
520:
512:
508:
504:
500:
498:
494:
490:
482:
478:
474:
470:
468:
464:
460:
456:
452:
444:
442:
439:
435:
429:
422:
418:
414:
412:
407:
405:
401:
400:Self-portrait
396:
394:
390:
382:
381:Self-portrait
378:
374:
371:
367:
359:
355:Life and work
354:
352:
350:
346:
342:
337:
335:
331:
327:
323:
319:
315:
310:
306:
301:
299:
295:
291:
287:
283:
278:
276:
272:
271:Antwerp Guild
268:
263:
261:
257:
253:
252:court painter
249:
244:
236:
232:
223:
219:
214:
209:
205:
186:
182:
179:
176:
172:
168:
164:
161:
156:
153:
149:
146:
143:
139:
135:
131:
121:
117:
113:
109:
104:22 March 1599
99:
95:
90:
89:
83:
78:
71:
66:
61:
57:
53:
49:
44:
40:
33:
19:
3954:
3946:
3921:
3913:
3882:
3874:
3866:
3854:
3846:
3838:
3830:
3822:
3814:
3806:
3798:
3789:
3780:
3772:
3764:
3756:
3748:
3740:
3732:
3724:
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3390:(1618–1620)
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3316:
3269:to the King
3265:
3236:
3180:
3168:. Retrieved
3149:
3128:. Retrieved
3124:the original
3111:
3102:
3088:
3066:
3061:
3049:. Retrieved
3045:
3036:
3024:. Retrieved
3022:(in Spanish)
3019:
3010:
2998:. Retrieved
2996:(in Spanish)
2993:
2983:
2971:. Retrieved
2967:
2958:
2946:. Retrieved
2942:
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2917:
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2896:. Retrieved
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2883:
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2805:google books
2792:
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2593:Sinclair, W.
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2559:. Retrieved
2555:the original
2551:Treasures...
2550:
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2533:
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2444:. Retrieved
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2091:. Retrieved
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2078:
2066:
2033:"IJ" digraph
2031:", with the
2028:
2020:
2016:
2012:
2004:
1996:
1992:
1987:
1948:
1915:Portrait of
1914:
1889:
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1431:Earl Spencer
1428:
1419:
1416:Tate Britain
1414:
1409:
1402:Mateo Cerezo
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1389:
1377:
1369:
1361:
1357:
1349:Wilton House
1312:
1308:
1304:
1300:
1296:
1279:The British
1278:
1269:
1254:
1251:coat of arms
1241:in 1632, he
1236:
1229:
1212:
1208:The Blue Boy
1206:
1202:
1188:
1168:
1159:Pieter Thijs
1156:
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1124:
1117:Portrait of
1103:
1082:Iconographie
1081:
1079:
1071:
1068:
1052:
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1021:Iconographie
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1018:
1004:watercolours
997:
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962:Isaac Fuller
951:
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937:
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915:
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853:
845:John Casimir
834:. She was a
832:Lord Ruthven
821:
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784:Lord Wharton
769:
766:
751:
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670:Rinaldo and
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318:mythological
302:
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229:
189:Mary Ruthven
124:(1641-12-09)
91:(after 1633)
86:
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4018:1641 deaths
4013:1599 births
3986:Paul de Vos
3918:(1632–1633)
3910:(1620–1621)
3904:(1613–1614)
3811:(1637–1638)
3678:(1638–1640)
3670:(1630–1632)
3662:(1630–1632)
3646:(1622–1627)
3573:(1624–1625)
3504:(1631–1632)
3493:Crucifixion
3472:(1629–1630)
3456:(1628–1630)
3448:(1621–1627)
3404:Minneapolis
3384:(1618–1620)
3352:(1617–1619)
2495:Wood (2010)
2093:14 February
1955:Musée Condé
1930:Rijksmuseum
1897: 1640
1762: 1637
1735: 1636
1713: 1635
1618: 1630
1594: 1629
1555: 1627
1517: 1622
1490: 1620
1382:El Escorial
1372:. In 2008,
1261:Collections
1098:Hyatt Mayor
1086:photography
1064:Inigo Jones
1055:printmaking
1047:Iconography
1015:Printmaking
891: 1630
823:denizenship
798:, took the
758: 1637
715:Blackfriars
625: 1638
606:altarpieces
330:watercolour
322:allegorical
286:Iconography
141:Nationality
4007:Categories
3516:Deposition
3201:required.)
2801:1136373926
2781:0571049028
2509:Adam Eaker
2458:required.)
2446:6 February
2071:ULAN entry
2043:References
1928:, 1641.
1364:, and The
1356:preserves
1343:, and the
1243:anglicized
1199:George III
345:knighthood
48:Dutch name
3951:(c. 1616)
3887:(c. 1638)
3879:(c. 1636)
3851:(c. 1622)
3777:(c. 1635)
3721:(c. 1623)
3686:Portraits
3545:1629–1630
3120:0307-1235
2561:29 August
2350:Cust 1899
1934:Amsterdam
1921:Charles I
1550:, Genoa,
1512:, Genoa,
1492:) in the
1152:The Hague
1090:Rembrandt
1045:from the
1000:landscape
871:in 1666.
809:The King
685:The Hague
650:Artemisia
513:(1627–28)
383:, 1613–14
211:Signature
151:Education
3982:(master)
3976:(master)
3908:New York
3595:New York
3170:28 April
3075:, 2009.
2872:Archived
2017:Anthonio
1993:Anthonis
1967:See also
1869:, 1631.
1715:, Louvre
1408:owns an
1272:, 1635,
1239:knighted
1225:the King
1213:Van Dyke
1203:Van Dyke
1094:Whistler
1033:engraver
919:and the
900:for the
796:Pembroke
780:Cavalier
655:knighted
601:Brussels
596:Veronese
589:COVID-19
555:New York
326:biblical
294:Isabella
290:etchings
174:Movement
169:Painting
56:van Dyck
46:In this
3967:Related
3871:(1630s)
3792:(Turin)
3580:Houston
3394:Bristol
3143:Sources
3130:4 April
3051:3 April
3026:3 April
3000:3 April
2973:3 April
2948:3 April
2923:3 April
2898:4 April
2013:Antonio
2009:Italian
2005:Antoine
1997:Antonie
1853:Althorp
1453:Gallery
1435:Althorp
1249:of his
1175:Bernini
1100:wrote:
970:Kneller
814:Council
788:Bedford
591:virus.
559:Palermo
547:Houston
523:Palermo
491:, says
481:The Met
334:etching
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267:Antwerp
201:
193:
178:Baroque
145:Flemish
108:Antwerp
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3932:(1640)
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3835:(1638)
3827:(1638)
3819:(1638)
3803:(1636)
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3769:(1634)
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1025:prints
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841:France
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2007:; in
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3172:2018
3154:ISBN
3132:2019
3116:ISSN
3077:ISBN
3053:2020
3028:2020
3002:2020
2975:2020
2950:2020
2925:2020
2900:2020
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