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that extends across his right shoulder and down his posterior side. This is a visual trick of calling attention to the chain and the message it portrays. This chain is understood to be a gift the artist received from his patron, Charles I. The gold chain holds a medal with the king's likeness on it, but is concealed by the artist's right arm sleeve. He is portrayed to be outdoors in nature, as seen by the clouds in the background. He is clothed in a richly-dyed pink overcoat with a white shirt visible on his collar, shirt cuffs, and a slender slit on his back. The light source is radiating from the bottom left corner, illuminating the outer petals of the sunflower. This gives the visual effect of the sunflower "shining" on
Anthony van Dyck's face in approval, a common interpretation of the sunflower.
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373:, Digby's wife. He also completed a family portrait of the Digby couple and their two young children between 1632 and 1633, the same years he worked on his sunflower self-portrait. The sunflower in Kenelm Digby's portrait would not make sense to function as the same symbolic nod to the crown. It would be more accurate for the sunflower to symbolise devotion and allegiance here, for Digby served the Crown as an unofficial naval consultant in the mid-1620s, as well as fought in a duel in 1641 in defence of the King and his namesake. Those in favour of this particular theory also state that Van Dyck's personal nature did not lend itself to be boastful about his dependency on another, even if that person was the King of England.
353:, but the characteristic of the plant is known to every gardener, and no literary source is necessary. Although he did not state personally that this devotion is specifically to the Crown, it has been interpreted that this portrait is a declaration of loyalty only to Charles I. Presiding as court painter to the king of England was an honour that Van Dyck revelled in, as well as an honour that any artist would be proud of. Art historians agree that the golden chain van Dyck has draped across his right shoulder was gifted to him by his patron Charles I and that the work was created while he was a court painter. The sunflower and its position facing him are interpreted as symbols for the monarch's approval of van Dyck.
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184:. He was asked to come to England in April 1632, was knighted for his work and loyalty to the crown later in July, and subsequently became a favourite of Charles. He was given a quiet house along with a handsome pension of £200 annually. It is estimated that van Dyck created over 40 portraits of King Charles alone, along with various other paintings of the royal family together. These works were commonly sent to other monarchs and functioned as diplomatic gifts. In England, van Dyck was able to develop his style and live well within his means as an artist.
462:. Oftentimes, gifts such as these were worked into the commission price an artist were to be paid following the completion of a work. Not only was the token of appreciation a nod to the work Van Dyck had accomplished during his first year as court painter, but also a royal decree of his status in England. When comparing the artist's other self-portraits, especially those he made while he was pupil under Peter Paul Rubens, the way he portrays simple, functional chains differs vastly to the outwardly candid adornment he sports in
127:. The symbolism behind the sunflower and gold chain have been a point of contention amongst various art historians. Van Dyck's dedication to capturing the likeness of his models was the basis for his strong influence over the art of portraiture long after his death in 1641. His portrait technique evolved into what is referred to as his Late English period as seen in
507:, van Dyck is sporting a classic "Vandyke"; his chin goatee consists of a tapered end, and his moustache tips are curled and pointed upward. His upper lip is nearly hidden by the thick, dark hair of his moustache whilst remaining cleanly trimmed, indicative of the pride he has in the growth of his hair and his appearance.
224:. The Duke has been known to loan works out for a handful of exhibits, but Van Dyck's self-portrait has not been publicly displayed in over a decade. A spokesperson for the Duke made a comment in 2007 that no private appointments to view any work in the collection will be taken. The painting was shown in the exhibition
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The portrait features the artist
Anthony van Dyck looking over his shoulder at the viewer. His gaze centres on the viewer, as if calmly startled by the presence of an onlooker. His right hand is poised to touch the bottom petals of a yellow sunflower. His left index finger and thumb hold a gold chain
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allegiance, and successfully did so in uniting the war-torn kingdom. This is evidence to prove that if the sunflower were to be a symbol only of Van Dyck's fidelity to his patron, the portrait would not have favoured as well with a wide audience looking for inspiration and relatable meaning in an
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Famously, the chain
Anthony van Dyck dons in the portrait is a token of Charles I's appreciation for his artistic work. Van Dyck had only been in England for a little over a year before a warrant was issued from court officials for the medal of 'One Hundred and Ten Pounds value' be given to him.
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Anthony van Dyck was well known for his many attempts of capturing his own likeness on canvas. As such, viewers were exposed to his unique style through his artwork. Van Dyck was capable of influencing 17th century
Englishmen into adopting his mannerisms and outward appearance. He was known for
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depending on personal preference. The look was thought to have a regal and stately appearance, and King
Charles I himself often liked to be depicted wearing the facial hair style in his portraits. Because Charles I was seen so often sporting the Van Dyck beard, it is also referred to as the
119:. The oil on canvas painting is generally between 1632 and 1633. His successful ventures in the Spanish Netherlands and Italy propelled van Dyck into a career as court painter. Van Dyck was serving as "principal Paynter in order to their Majesties" at the court of
165:. During the height of his rule, Charles had amassed a great collection of works totalling an estimated 1,750 paintings, some of which were created by Van Dyck. Shortly after his coronation in 1626, the King sought to create a fleet of Baroque artists, including
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and deriving symbolism from flora had not yet gained the popularity that it would later have in literature, art, poetry, and more; yet a plethora of flowers were associated with certain traits and characteristics even in the
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Yet it is not unanimously agreed that there is direct correlation between the artist and the patron specifically. Anthony van Dyck's workshop created a work likely between 1635 and 1650 that depicted his dear friend
466:. The touching of the chain is symbolic of his deep and active involvement in his duties, yet he restrains from making that the centre of the self-portrait by balancing the chain imagery with the sunflower.
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200:, England. Since the work belongs to a private collection, it currently is not and has not been on public display for quite some time. The current title holder of Duke and over-seer of Eaton Hall is
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204:, 7th Duke of Westminster. The young billionaire aristocrat has a net worth of nearly £9 billion, making him the world's richest man under 30 years of age. In 2013, he was named the godfather of
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King
Charles I was notoriously famous for his patronage of the arts, and during the early 1600s, extended his collection of artwork extensively with the addition of works once owned by the
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EDT, Lucy Clarke-Billings On 8/10/16 at 3:17 AM (2016-08-10). "Britain's third richest man the Duke of
Westminster leaves fortune to son—Prince George's Godfather".
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finds great company amongst the collection the
Grosvenors have amassed throughout the centuries; some other notable names in their private collection include
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wearing his facial hair in a particular way, and would later popularise the look by painting his various models with the same beard. The style known as the
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was
Charles' official court painter before Van Dyck's arrival to England, yet lacked the skills to depict Charles as regally as he wished.
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Van Dyck became a sought after artist soon after submitting a self-portrait to court officials and creating a religious work for Queen
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Salus, Peter H.; Shipley, Joseph T. (1985-09). "The
Origins of English Words: A Discursive Dictionary of Indo-European Roots".
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Salus, Peter H.; Shipley, Joseph T. (1985). "The Origins of English Words: A Discursive Dictionary of Indo-European Roots".
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The painting belongs to the private collection of the Duke of Westminster. It is currently housed in the country house of
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A testament to the friendship between Digby and van Dyck are the several portraits van Dyck painted to honour the late
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with the hair on the cheeks completely shaven. The moustache could be curled at the tips and include or exclude a
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There is a copy of the painting, which was also painted by van Dyck, in the property of the foundation of the
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Duboff, Josh. "Hugh Grosvenor: Meet the 22-Year-Old, Baby-Faced, Absurdly Rich Godparent to Prince George".
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Historians and scholars have hotly debated the symbolism behind the sunflower. The concept of
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1003:"Hugh Grosvenor: Meet the 22-Year-Old, Baby-Faced, Absurdly Rich Godparent to Prince George"
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Dovkants, Keith. "Hugh Grosvenor: How the richest man in the world under 30 stays normal".
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Charles I: King and Collector (Exhibition catalogue). Royal Academy of Arts, 2018, p. 233.
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906:. Sharpe, Kevin (Kevin M.), Lake, Peter. Stanford, CA: Stanford University Press. 1993.
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The Look of Van Dyck: The Self-Portrait with a Sunflower and the Vision of the Painter
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The Look of Van Dyck: The Self-Portrait with a Sunflower and the Vision of the Painter
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Wark, R. R. (1956). "A Note on Van Dyck's 'Self-Portrait with a Sunflower'".
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Wark, R. R. (1956). "A Note on Van Dyck's 'Self-Portrait with a Sunflower'".
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345:, etc. This obvious symbolism was naturally noted in 17th century English
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91.5 cm × 71 cm (36.0 in × 28 in)
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Spektakulärer Kunstraub in Gotha: Diese Gemälde sind wieder da (Picture 4)
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978:"Hugh Grosvenor: How the richest man in the world under 30 stays normal"
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523:(Germany). This painting was stolen in 1979 and resurfaced in 2019.
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1079:. in: arthistorynews.com, January 26, 2018, Retrieved 2019-12-06.
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Later, in the early 1640s, the portrait would be used during the
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Crucifixion with the Virgin, Saint John and Saint Mary Magdalene
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Chapman, H. Perry (2013). "Self-Portraiture 1400− 1700" (PDF).
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EDT, Lucy Clarke-Billings On 8/10/16 at 3:17 AM (2016-08-10).
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Thetis Receiving the Weapons of Achilles from Hephaestus
1264:. in: MDR. 6. December 2019, Retrieved 7. December 2019.
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Historians believe the chain and medal were designed by
361:, an English astrologer, natural philosopher, and royal
1428:"Self-Portrait with a Sunflower by Anthony van Dyck".
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Lord John Stuart and his Brother, Lord Bernard Stuart
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Saint Ambrose barring Theodosius from Milan Cathedral
1277:"Anthony Van Dyck Artworks & Famous Paintings".
812:"Self-Portrait with a Sunflower by Anthony van Dyck"
131:. This work is now in the private collection of the
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1851:Venus Asks Vulcan to Forge Arms for her Son Aeneas
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950:"Anthony Van Dyck Artworks & Famous Paintings"
836:"Anthony Van Dyck Artworks & Famous Paintings"
557:Jaffé, Michael (2003), "Dyck, Sir Anthony van",
1415:The Meaning of Flowers: Myth, Language & Lore
1092:The Meaning of Flowers: Myth, Language & Lore
1383:, Oxford University Press, retrieved 2019-04-17.
1064:Desmond Shawe-Taylor and Per Rumberg (Editors):
173:, to work and live in England. The Dutch artist
1295:. Ithaca, N.Y.: Cornell University Press, 1983.
1437:Encyclopedia of hair : a cultural history
1229:Encyclopedia of hair : a cultural history
384:piece, persuading citizens to join arms for a
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904:Culture and politics in early Stuart England
752:: CS1 maint: multiple names: authors list (
1934:Equestrian Portrait of Francisco de Moncada
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1653:The Vision of the Blessed Hermann Joseph
1413:Scoble, Gretchen; Field, Ann (1998-04).
262:Anonymous painter(s) in the workshop of
2060:Mary Villiers, Lady Herbert of Shurland
1356:Grosswirth, Marvin, 1931–1984. (2014).
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2107:Self-portrait with Sir Endymion Porter
1983:The Three Eldest Children of Charles I
1974:The Three Eldest Children of Charles I
1827:Diana and a Nymph Surprised by a Satyr
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2197:Self-portraits by Anthony van Dyck
2000:Triple Portrait of Henrietta Maria
367:Sir Kenelm Digby with a sunflower.
232:from 27 January to 15 April 2018.
157:Van Dyck in the Court of Charles I
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1661:Madonna and Child with Two Donors
976:Dovkants, Keith (8 August 2017).
244:Sir Kenelm Digby with a Sunflower
1992:Equestrian Portrait of Charles I
1704:Lamentation over the Dead Christ
1313:Carlton, Charles, 1941- (1995).
1077:'Charles I - King and Collector'
1001:Duboff, Josh (23 October 2013).
720:Carlton, Charles, 1941- (1995).
1926:Charles I with M. de St Antoine
1645:The Coronation of Saint Rosalia
1541:Saint Martin Dividing his Cloak
1315:Charles I, the personal monarch
722:Charles I, the personal monarch
2099:Self-Portrait with a Sunflower
1525:Entry of Christ into Jerusalem
1317:(2nd ed.). London: Routledge.
505:Self-Portrait with a Sunflower
464:Self-Portrait with a Sunflower
365:. The oil on canvas is titled
210:Self-Portrait with a Sunflower
129:Self-Portrait with a Sunflower
97:Self-Portrait with a Sunflower
22:Self-Portrait with a Sunflower
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1669:Rest on the Flight into Egypt
1298:Peacock, John, 1941- (2006).
1121:"Self-Portraiture 1400− 1700"
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226:Charles I: King and Collector
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2158:Hendrick van Balen the Elder
1966:Charles I in Three Positions
1794:Munich (autograph or studio)
874:. Cornell University Press.
870:Brown, Christopher. (1983).
395:Charles I in Three Positions
1435:Sherrow, Victoria. (2006).
1225:Sherrow, Victoria. (2006).
1146:Grosswirth, Marvin (2014).
561:, Oxford University Press,
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1902:Cardinal Guido Bentivoglio
1119:Chapman, H. Perry (2013).
2008:Mary Hill, Lady Killigrew
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470:Van Dyck or Vandyke Beard
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182:Henrietta Maria of France
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1565:The Crowning with Thorns
1284:"Britain's hidden art".
303:National Maritime Museum
2040:Magistrates of Brussels
2032:Luigia Cattaneo-Gentile
1918:Gaston, Duke of Orléans
1693:Madonna with Partridges
1460:The Burlington Magazine
1432:. Retrieved 2019-04-17.
1353:. Retrieved 2019-04-18.
1346:. Retrieved 2019-04-17.
1339:. Retrieved 2019-04-17.
1330:www.segundodeagosto.com
1281:. Retrieved 2019-04-18.
1128:www.segundodeagosto.com
816:www.thehistoryofart.org
682:The Burlington Magazine
322:the language of flowers
2132:A Soldier on Horseback
1878:Cornelis van der Geest
1621:Susanna and the Elders
1572:The Betrayal of Christ
1430:www.anthonyvandyck.org
1360:. Dover Publications.
1358:Art of growing a beard
1288:. Retrieved 2019-04-17
1150:. Dover Publications.
1148:Art of growing a beard
934:: CS1 maint: others (
779:"Britain's hidden art"
622:Peacock, John (2006).
100:is a self-portrait by
1958:Charles I at the Hunt
1803:Mythological subjects
1789:Palermo (studio work)
1755:Saint Rosalia series
1637:The Mocking of Christ
479:came to consist of a
380:as a loosely defined
230:Royal Academy of Arts
123:when he created this
1942:Francisco de Moncada
1910:The Lomellini Family
1286:www.newstatesman.com
783:www.newstatesman.com
329:era. The sunflower (
121:Charles I of England
1913:(c. 1625–1627)
1819:Jupiter and Antiope
1599:(c. 1619–1620)
1560:(c. 1618–1620)
1557:The Apostle Matthew
1439:. Greenwood Press.
1417:. Chronicle Books.
1233:. Greenwood Press.
1095:. Chronicle Books.
517:Friedenstein Palace
494:English Restoration
218:Thomas Gainsborough
133:Duke of Westminster
117:Spanish Netherlands
2045:Preparatory sketch
1985:(Royal Collection)
1835:The Shepherd Paris
1603:Samson and Delilah
1549:The Brazen Serpent
1517:Religious subjects
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171:Orazio Gentileschi
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2016:William Killigrew
1629:Madonna and Child
1510:List of paintings
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1574:(1618–1620)
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1035:. Retrieved
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1010:. Retrieved
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985:. Retrieved
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957:. Retrieved
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277: 1630s
243:
225:
209:
191:
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135:, housed at
128:
111:artist from
96:
95:
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2170:Paul de Vos
2102:(1632–1633)
2094:(1620–1621)
2088:(1613–1614)
1995:(1637–1638)
1862:(1638–1640)
1854:(1630–1632)
1846:(1630–1632)
1830:(1622–1627)
1757:(1624–1625)
1688:(1631–1632)
1677:Crucifixion
1656:(1629–1630)
1640:(1628–1630)
1632:(1621–1627)
1588:Minneapolis
1568:(1618–1620)
1536:(1617–1619)
1302:. Ashgate.
626:. Ashgate.
426: 1635
143:Description
53: 1632
2191:Categories
1700:Deposition
1394:(3): 710.
1366:1322044589
1323:0415121418
1272:References
1190:(3): 710.
1037:2019-04-18
1012:2019-04-17
987:2019-04-17
959:2019-04-16
845:2019-04-18
821:2022-05-09
788:2019-04-17
642:1006339691
489:soul patch
453:Gold Chain
382:propaganda
341:, Italian
291:Dimensions
194:Eaton Hall
188:Provenance
152:Background
137:Eaton Hall
80:Eaton Hall
68:Dimensions
2135:(c. 1616)
2071:(c. 1638)
2063:(c. 1636)
2035:(c. 1622)
1961:(c. 1635)
1905:(c. 1623)
1870:Portraits
1729:1629–1630
1453:310081924
1408:0097-8507
1374:887095571
1249:310081924
1204:0097-8507
1166:887095571
930:cite book
890:801979537
748:cite book
694:0007-6287
481:moustache
389:artwork.
335:tournesol
316:Sunflower
309:, England
307:Greenwich
214:Rembrandt
2166:(master)
2160:(master)
2092:New York
1779:New York
1388:Language
1351:Newsweek
1344:The Hive
1293:Van Dyck
1184:Language
1046:cite web
1032:Newsweek
1007:The Hive
922:29900927
872:Van Dyck
740:32090222
527:See also
441:Location
386:royalist
363:courtier
343:girasole
299:Location
198:Cheshire
84:Cheshire
76:Location
2151:Related
2055:(1630s)
1976:(Turin)
1764:Houston
1578:Bristol
428:or 1636
351:Antwerp
339:girasol
327:Baroque
228:in the
113:Antwerp
109:Baroque
106:Flemish
88:England
55:to 1633
2116:(1640)
2114:London
2110:(1635)
2086:Vienna
2027:(1639)
2019:(1638)
2011:(1638)
2003:(1638)
1987:(1636)
1978:(1635)
1953:(1634)
1945:(1634)
1937:(1634)
1929:(1633)
1897:(1622)
1889:(1622)
1881:(1620)
1838:(1628)
1822:(1620)
1814:(1620)
1774:Madrid
1769:London
1696:(1632)
1680:(1630)
1672:(1630)
1664:(1630)
1648:(1629)
1583:Madrid
1544:(1618)
1528:(1617)
1451:
1443:
1421:
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1337:Tatler
1321:
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982:Tatler
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702:871799
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511:Copies
485:goatee
433:Medium
409:Artist
283:Medium
259:Artist
220:, and
60:Medium
36:Artist
1784:Ponce
1208:JSTOR
1124:(PDF)
698:JSTOR
539:Notes
521:Gotha
1744:1640
1739:1635
1734:1634
1724:1629
1719:1619
1714:1618
1709:1615
1613:1630
1608:1620
1449:OCLC
1441:ISBN
1419:ISBN
1404:ISSN
1370:OCLC
1362:ISBN
1319:ISBN
1304:ISBN
1245:OCLC
1235:ISBN
1200:ISSN
1162:OCLC
1152:ISBN
1097:ISBN
1052:link
936:link
918:OCLC
908:ISBN
886:OCLC
876:ISBN
758:link
754:link
736:OCLC
726:ISBN
690:ISSN
638:OCLC
628:ISBN
483:and
419:Year
270:Year
169:and
104:, a
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1396:doi
1192:doi
563:doi
519:in
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