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160:(surveyor of works) van den Dyck had to move between the various construction sites such as Maderno, Marmirolo, Mantua and Venice, to check the transportation of the many marble statues, inspect the progress and quality of the various construction works undertaken at the ducal palace as well as the suburban residences, ordered supplies and tools, organized the daily assignments of the workers and made sure the duke was informed timely through frequent correspondence. The constant and exhausting travel in this role did not allow van den Dyck to work as a painter, the premier reason for his appointment to the court. This may explain why van den Dyck operated a large workshop with assistants. These assistants would produce his works which he would then 'touch up'.
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100:(1605-1678). These family ties meant that van den Dyck could rely on a network of Flemish and Italian artists in Venice. This allowed him to gain many commissions for religious paintings in churches as well as for portraits. He painted wall decorations in the Palazzo Pesaro in Preganziol together with his brother-in-law della Vecchia and their respective spouses.
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as his official court painter, architect, surveyor of his building program and engineer for stage designs for the theatre. He also was made the superintendent of the duke's gallery and tasked with reconstituting the ducal art collection which had become dispersed during the previous two dukes' reign.
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Daniel van den Dyck was a versatile artist who created mythological and religious scenes, as well as portraits and flower-pieces. He also created prints after his own designs. He often signed his works by his
Italian name 'Daniele vanden Dyck'. Very few of his works have survived or been identified
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to whom some of his portraits have been erroneously attributed in the past and vice versa. Already in his lifetime the liveliness of his portraits was praised. His portraiture is characterized by his ability to analyze reality, describe the physiognomic features of the character, without neglecting
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in the guild year 1631-1632. He was registered as a master of the
Antwerp Guild of Saint Luke in the guild year 1633-1634. It is assumed that shortly after becoming a master he left Antwerp as he was not involved in any of the large commissions on which Antwerp painters worked in the middle of the
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in Venice, which was frequented by the
Flemish community residing in the Republic. This work shows the influence of Rubens in its sensuality and that of Anthony van Dyck in the livid tonality and the smooth and thin application of the paint. He is known to have created more altarpieces as well as
46:) was a Flemish painter, printmaker, architect and engineer. After training in Antwerp he left for Italy where he first worked in Venice and later became a court painter in Mantua. He was a versatile artist who created mythological and religious scenes, as well as portraits and flower-pieces.
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A number of portraits have been attributed to van den Dyck. His portrait style retains a
Flemish painterly quality derived from his early training in Antwerp. His early style is also close to that of other painters active in Bergamo or Mantua such as
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The artist passed first through
Bergamo where he created a few signed and dated portraits. He was in Venice likely from 1634 onwards. Here he married Lucrezia Renieri, the eldest daughter of
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The date of his death is not known with certainty. It is placed shortly after he drew up his will on 27 June 1662. On 4 April 1663 the duke of Mantua appointed another
Flemish painter called
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as well as the
Flemish Baroque with its muscular and bearded hero Aeneas who is being submitted by the robust nymphs to a grooming before his elevation to godly status. His print of a
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as his new court painter. Van den Dyck's son may have become a painter as his grandfather
Nicolas Régnier bequeathed onto him all his prints, drawings and reliefs to study.
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Very little is known about the early life of Daniel van den Dyck. He was born in
Antwerp as the son of Jan van den Dyck and Cornelia Kerstboom. He was baptized in
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His graphic work is mainly distinguished by its cursive and quick character, which predates developments in the 17th century. This is quite evident in his
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Possibly his appointment was made on the recommendation of his father-in-law who had provided services to the duke on various occasions. As the
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Evidence of the esteem in which he was held in his time is the fact that one of his works - a portrait - was included in the early biographer
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of 1660, a panygeric poem about
Venetian painting. Boschini dedicated two pages to van den Dyck and represented the artist in a print as
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Name variations: Daniël van Dyck, Daniel van den Dijck, Daniel van den Dyck, Daniel Van Den Dyck, often signed Daniele vanden Dyck
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470:, in: E. Fumagalli, R. Morselli, (ed.), The Court Artists in Seventeenth-Century Italy, Rome: Viella 2014, pp. 167-198
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From late 1657 van den Dyck was living with his family in Mantua. On 2 April of the next year he was named by duke
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Ph. Rombouts and Th. van Lerius, De liggeren en andere historische archieven der Antwerpsche sint Lucasgilde
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Anne-Marie Logan, 'Daniel van den Dyck (Daniel Vandich)', Wallraf-Richartz Jahrbuch 55 (1994), pp. 95–104
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St Dominic accompanied by Simon de Montfort raising the crucifix against the Albigensians
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including Giovan Francesco Loredano (still alive) by van den Dyck as being kept at the
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Le maraviglie dell'Arte ovvero, Le vite degli Illustri Pittori Veneti and dello Stato
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on 3 December 1614. He was registered as a pupil of Peter Verhaeght in the Antwerp
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Opere di Gio. Francesco Loredano Nobile Veneto: Diuise In Sei Volvmi, Volume 1
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Van den Dyck is also believed to have painted the frescos on the subject of
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Van den Dyck painted 13 flower pieces for the duke of Mantua's
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into Antwerp of the new governor of the Habsburg Netherlands
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The Position of Artists at the Gonzaga Court (1587-1707)
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Giovan Francesco Loredano, one of the founders of the
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134:which he made for Loredano's
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556:Flemish history painters
551:Flemish Baroque painters
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189:One of his key works, a
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42:– 1663,
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221:Psyche
44:Mantua
292:Notes
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