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384:. 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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357:) 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
488:... 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."
2270:"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"
1077:: "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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380:) 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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402:, 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".
522:. 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
767:: "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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961:. 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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852:. 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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650:, was a somewhat pedestrian Dutchman. Charles was very short, less than 5 feet (1.5 m) tall, and presented challenges to a portrait artist.
2140:, 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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2008:. 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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1393:, 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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2784:, 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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771:" style and dress, in fact a majority of his most important patrons in the nobility, such as
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3031:"'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
2504:. New York New Haven: Frick Collection; in association with Yale University Press. p. 247.
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2013:
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Studies in the History of Art, vol. 46, 1994, pp. 16–46. JSTOR, Accessed 21 Feb. 2024.
1186:, "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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2733:. 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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2631:, 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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19:"Van Dyck" and "Vandyck" redirect here. For other persons with the surname, see
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2809:(paperback). St. Martin's Griffin (published 5 February 2013). p. 191.
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2205:, 4th Edn, 1978, pp. 70–77, Penguin Books (now Yale History of Art series)
2012:" spelling was often used during his lifetime and later (and is usual for
856:. 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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2979:"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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2837:(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'.
2016:). 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
1162:(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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2878:"Dyck, Anthony van – The Collection – Museo Nacional del Prado"
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is an early photographic printing process using such a colour.
576:'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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2311:"The Saint Who Stopped an Epidemic Is on Lockdown at the Met"
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The Greenwood Encyclopedia of Clothing through World History
2674:, Metropolitan Museum of Art. Princeton, 1971, no. 433-35,
933:
Van Dyck's portraits flattered more than Velázquez's. When
1677:
Equestrian Portrait of Thomas Francis, Prince of Carignano
340:, an indication of his standing at the time of his death.
2821:
Van Dyck was knighted and anglicised his name to Vandyke.
2292:"2012: Van Dyck in Sicily | Dulwich Picture Gallery"
1373:, two centuries after its removal and, subsequently, The
637:
to settle in England, later to be joined by his daughter
289:
he returned in 1632 to London as the main court painter.
3648:
Thetis Receiving the Weapons of Achilles from Hephaestus
819:, who, although the title was forfeited, styled himself
1246:. The coat of arms is crested with a greyhound's head.
395:
as a free master on Saint Luke's day, 18 October 1617.
3873:
Lord John Stuart and his Brother, Lord Bernard Stuart
3401:
Saint Ambrose barring Theodosius from Milan Cathedral
606:
Lord John Stuart and his Brother, Lord Bernard Stuart
273:. In the late 1620s he completed his greatly admired
2701:
Dutch Portraits, The Age of Rembrandt and Frans Hals
2405:"Lemon, Margaret (b. c. 1614–1643?), artist's model"
2239:, Weidenfeld & Nicolson, London, 1971, pp. 124–5
1379:
The Virgin with the Child with the repentant sinners
1190:, a generic "Cavalier" fancy-dress costume called a
925:. None of these works appear to remain, except the
398:
Within a few years he became the chief assistant to
3955:
3928:
3883:
3674:
3607:
3559:
3321:
2334:
2332:
2330:
2328:
2326:
2324:
285:, Habsburg Governor of Flanders. At the request of
199:
172:
162:
154:
139:
129:
107:
85:
56:
3656:Venus Asks Vulcan to Forge Arms for her Son Aeneas
2403:
1020:the heads and main outlines of the figure, for an
680:principalle Paynter in ordinary to their majesties
328:His influence extends into the modern period. The
1426:houses a small collection of van Dycks including
1143:in 1638 to become the leading portraitist there.
1131:attributions may be more dubious in some cases).
552:Saint Rosalia Interceding for the City of Palermo
2048:Moortgat, Ingrid. “Baptism of Antonio Van Dyck.”
1401:(currently undergoing restoration, April 2020).
2953:"Annotated works | The Bilbao Fine Arts Museum"
2835:The Heraldry of Foreigners in England 1400-1700
2354:Exhibition of the Works of Sir Anthony Van Dyck
1399:Equestrian Portrait of Don Francisco de Moncada
1091:
668:. He had also painted Charles's sister, Queen
391:dated 1613–14. He was admitted to the Antwerp
235:; 22 March 1599 – 9 December 1641) was a
3290:
3097:"As a child I loved the glamour of these men"
1980:In Dutch, his first name is also attested as
1375:Real Academia de Bellas Artes de San Fernando
1277:
1085:in the last major phase of portrait etching.
840:after he was freed from French imprisonment.
8:
3174:(online ed.). Oxford University Press.
2764:, p, 147, 1977 (3rd edn.), Faber and Faber,
2480:
2478:
2476:
2414:(online ed.). Oxford University Press.
2375:Culture and Politics in Early Stuart England
266:, who became a major influence on his work.
3739:Equestrian Portrait of Francisco de Moncada
3297:
3283:
3275:
3239:
2584:p99: London; Chapman & Hall, Ltd; 1909
2378:. Stanford University Press. p. 223.
2351:Grosvenor Gallery; Stephens, F.G. (1887).
1879:Rachel de Ruvigny, Countess of Southampton
1389:and was previously considered the work of
664:(1629), and a religious picture for Queen
69:
53:
3235:Jordaens Van Dyck Panel Paintings Project
2646:
2644:
2357:. H. Good and Son, Printers. p. 14.
2268:Bailey, Gauvin Alexander (1 March 2012).
2115:
2113:
2111:
2109:
1208:advertised a figure, after a portrait by
1139:(1604–1671) returned to his native city,
3458:The Vision of the Blessed Hermann Joseph
2977:Fernando, Real Academia de BBAA de San.
2563:
2561:
2095:
2093:
1576:The Vision of the Blessed Hermann Joseph
1253:
1152:
975:
867:
741:Portrait of van Dyck's wife Mary Ruthven
599:
490:
466:Landscape with a Gnarled Tree and a Farm
404:
3865:Mary Villiers, Lady Herbert of Shurland
3212:The National Portrait Gallery: Van Dyck
3171:Oxford Dictionary of National Biography
2699:Rudi Ekkart and Quentin Buvelot (eds),
2654:, Cincinnati Art Museum, 1993, no. 72,
2621:
2619:
2411:Oxford Dictionary of National Biography
2280:(596): 116–122 – via go.gale.com.
2155:, Yale University Press, 2004, p. 124;
2152:Flemish Art and Architecture, 1585–1700
2037:
1973:
1445:
440:George Villiers, Marquess of Buckingham
3912:Self-portrait with Sir Endymion Porter
3788:The Three Eldest Children of Charles I
3779:The Three Eldest Children of Charles I
3632:Diana and a Nymph Surprised by a Satyr
2650:Becker, D. P., in KL Spangeberg (ed),
2197:
2043:
2041:
1012:, which became a very large series of
712:Worshipful Company of Painter-Stainers
3829:Queen Henrietta Maria as St Catherine
2402:James, Susan E. (23 September 2004).
2397:
2395:
2195:
2193:
2191:
2189:
2187:
2185:
2183:
2181:
2179:
2177:
2133:
2131:
1962:List of paintings by Anthony van Dyck
1784:Portrait of Mary Hill, Lady Killigrew
1336:have examples of his portrait style.
1284:(Spain) (twenty-five Works, such as:
795:that broke out soon after his death.
230:
7:
3945:Mucius Scaevola before Lars Porsenna
3141:. Royal Academy Publications, 1999.
2567:Michael Jaffé. "Dyck, Anthony van".
2502:Van Dyck: The Anatomy of Portraiture
2338:
1838:William Russell, 1st Duke of Bedford
1800:Princess Mary, Daughter of Charles I
1436:William Russell, 1st Duke of Bedford
843:A letter dated 13 August 1641, from
710:, thus avoiding the monopoly of the
305:for over 150 years. He also painted
3755:Thomas Francis, Prince of Carignano
3035:www.museobellasartesvalencia.gva.es
2580:"Memorials of St Paul's Cathedral"
2569:Grove Art Online. Oxford Art Online
2138:Jeremy Wood, 'Sir Anthony van Dyck'
1939:Portrait of Gaston, Duke of Orléans
1836:, English Royalist politician with
1434:, English Royalist politician with
3805:Triple Portrait of Henrietta Maria
2628:A History of Engraving and Etching
1359:Lamentation before the dead Christ
1286:Self-portrait with Endymion Porter
1234:his name to Vandyke. The heraldic
967:An Essay on the Theory of Painting
16:Flemish Baroque artist (1599–1641)
14:
3466:Madonna and Child with Two Donors
2932:Museo Nacional Thyssen-Bornemisza
2907:Museo Nacional Thyssen-Bornemisza
2251:"Desperately Painting the Plague"
2103:165 (February 2023), pp. 162–165.
1834:George Digby, 2nd Earl of Bristol
1819:Royal Museum of Fine Arts Antwerp
1432:George Digby, 2nd Earl of Bristol
1263:Royal Museum of Fine Arts Antwerp
484:, by appearing with "the pomp of
3797:Equestrian Portrait of Charles I
3509:Lamentation over the Dead Christ
2296:www.dulwichpicturegallery.org.uk
2249:Cotter, Holland (29 July 2005).
1930:
1896:
1871:
1848:
1825:
1810:
1792:
1775:
1758:
1743:Equestrian Portrait of Charles I
1734:
1709:
1685:
1668:
1661:Venetia Stanley on her Death Bed
1653:
1636:
1621:
1590:
1567:
1550:
1527:
1512:
1489:
1462:
1448:
832:. In 1640 he accompanied prince
760:Equestrian Portrait of Charles V
296:, van Dyck and his contemporary
243:in England after success in the
205:
3731:Charles I with M. de St Antoine
3450:The Coronation of Saint Rosalia
3346:Saint Martin Dividing his Cloak
2571:. Oxford University Press. Web.
2525:, vol.iv, London, 1916, p. 385n
2309:Farago, Jason (26 March 2020).
1663:, 1633, Dulwich Picture Gallery
1645:Charles I with M. de St Antoine
1395:Museum of Fine Arts of Valencia
657:, one of Charles's agents, his
646:. Charles's court portraitist,
572:published an article about the
438:In 1620, at the instigation of
185:
4072:Burials at St Paul's Cathedral
4047:Principal Painters in Ordinary
3904:Self-Portrait with a Sunflower
3330:Entry of Christ into Jerusalem
2758:The painting, Royal Collection
2652:Six Centuries of Master Prints
2606:, British Museum Press, 1999,
2203:Painting in Britain, 1530–1790
1347:the Portrait of Jacques Le Roy
454:that he first saw the work of
77:Self-Portrait with a Sunflower
1:
4042:17th-century English painters
3474:Rest on the Flight into Egypt
3256:Principal Painter in Ordinary
2372:Sharpe, K.; Lake, P. (1993).
2120:Van der Stichelen, Katlijne.
1882:
1747:
1720:
1698:
1603:
1599:Rest on the Flight into Egypt
1579:
1540:
1502:
1475:
876:
743:
610:
597:, and began his printmaking.
3963:Hendrick van Balen the Elder
3771:Charles I in Three Positions
3599:Munich (autograph or studio)
3188:UK public library membership
2903:"Portrait of Jacques Le Roy"
2445:UK public library membership
2077:Netherlands Institute of Art
1890:National Gallery of Victoria
1367:Martyrdom of Saint Sebastian
1194:was popular. Gainsborough's
1159:Charles I in Three Positions
530:. Versions include those in
476:Northern artist's colony in
446:, receiving £100. It was in
382:Hendrick van Balen the Elder
4077:Pupils of Peter Paul Rubens
3152:Cust, Lionel Henry (1899).
3083:"Past Exhibition: Van Dyck"
2542:(in Polish). Archived from
1804:Museum of Fine Arts, Boston
1728:Yale Center for British Art
1330:Museum of Fine Arts, Boston
1304:, the painter's Wife), The
1032:Pieter Brueghel the Younger
891:Banqueting House, Whitehall
556:Coronation of Saint Rosalia
4093:
3707:Cardinal Guido Bentivoglio
3009:www.culturaydeporte.gob.es
2729:Condra, Jill, ed. (2008).
1856:Portrait of Jacques Le Roy
1536:Anton Giulio Brignole-Sale
1471:Christ Crowned with Thorns
1294:Christ Crowned with Thorns
574:Metropolitan Museum of Art
34:
25:
18:
4037:English portrait painters
4017:Flemish portrait painters
3813:Mary Hill, Lady Killigrew
3312:
3263:
3253:
3247:
3242:
3202:The Oliver Millar Archive
2833:Siddons, Michael (2010).
1860:Thyssen-Bornemisza Museum
1840:("War and Peace"), 1637,
1456:Christ carrying the Cross
1343:Thyssen-Bornemisza Museum
991:pen and wash drawings or
987:A fairly small number of
864:Portraits and other works
450:in the collection of the
303:English portrait-painting
232:[ˈɑntoːɱvɑnˈdɛik]
227:
213:
204:
195:
68:
4027:Flemish Baroque painters
4022:Flemish history painters
3370:The Crowning with Thorns
2602:Royalton-Kisch, Martin.
2214:Martin, op and page cit.
1302:Portrait of Mary Ruthven
1274:National Gallery, London
983:, a late double portrait
706:, then just outside the
28:Anthony Van Dyck (horse)
3845:Magistrates of Brussels
3837:Luigia Cattaneo-Gentile
3723:Gaston, Duke of Orléans
3498:Madonna with Partridges
3230:. Inventory no. 404429.
3163:– via Wikisource.
3085:. The Frick Collection.
2863:3 February 2014 at the
2521:Cokayne, G. E., et al,
2101:The Burlington Magazine
1498:Luigia Cattaneo-Gentile
1385:, which is kept in The
1355:Bilbao Fine Arts Museum
1322:National Gallery of Art
560:Gauvin Alexander Bailey
506:He was mostly based in
336:, and he was buried in
239:who became the leading
26:For the racehorse, see
3937:A Soldier on Horseback
3683:Cornelis van der Geest
3426:Susanna and the Elders
3377:The Betrayal of Christ
3227:Royal Collection Trust
3222:"Sir Anthony Van Dyck"
3180:10.1093/ref:odnb/28081
3057:Van Dyck & Britain
2805:Massie, Allan (2013).
2670:Mayor, Alpheus Hyatt.
2459:English Court Painting
2420:10.1093/ref:odnb/72128
1629:Marie-Louise de Tassis
1409:Van Dyck & Britain
1312:(eighteen works), the
1278:
1276:(fourteen works), The
1265:
1170:
1111:
1095:
1039:
984:
918:
882:
753:
714:. A suite of rooms in
694:
617:
503:
472:
413:
373:
292:With the exception of
237:Flemish Baroque artist
4057:Painters from Antwerp
3763:Charles I at the Hunt
3608:Mythological subjects
3594:Palermo (studio work)
3560:Saint Rosalia series
3442:The Mocking of Christ
3204:; research papers of
2928:"Christ on the Cross"
2867:Paintings by Van Dyck
2762:Old English Porcelain
1912:with her husband the
1817:The apostle Matthew,
1694:Charles I at the Hunt
1411:in 2009. In 2016 the
1365:of Spain recovered a
1259:Lamentation of Christ
1257:
1216:in a Vandyck dress".
1156:
1105:
1038:; etching by van Dyck
1030:
979:
903:
871:
739:
689:
603:
494:
482:Giovan Pietro Bellori
468:, Pen and brown ink,
464:
423:Carolus Borromeuskerk
408:
368:
349:Family and early life
4062:Artists from Antwerp
3747:Francisco de Moncada
3715:The Lomellini Family
3137:Brown, Christopher:
2983:Academia Colecciones
2882:www.museodelprado.es
2593:Levey, op cit p. 136
2536:"Portret królewicza"
2523:The Complete Peerage
1726:–40, oil on canvas,
1407:held the exhibition
1298:The taking of Christ
1166:to model a bust on.
1042:He left most of the
858:Great Fire of London
670:Elizabeth of Bohemia
554:in Puerto Rico, and
410:The Lomellini family
287:Charles I of England
220:Sir Anthony van Dyck
4052:Baroque printmakers
3718:(c. 1625–1627)
3624:Jupiter and Antiope
3404:(c. 1619–1620)
3365:(c. 1618–1620)
3362:The Apostle Matthew
3115:on 26 February 2016
3101:The Daily Telegraph
3054:Karen Hearn (ed.),
2957:www.museobilbao.com
1369:and returned it to
1363:Patrimonio Nacional
1110:by Anthony van Dyck
971:Thomas Gainsborough
963:Jonathan Richardson
887:Order of the Garter
854:St Paul's Cathedral
393:Guild of Saint Luke
359:Guild of Saint Luke
338:St Paul's Cathedral
277:series of portrait
245:Spanish Netherlands
101:Spanish Netherlands
3850:Preparatory sketch
3790:(Royal Collection)
3640:The Shepherd Paris
3408:Samson and Delilah
3354:The Brazen Serpent
3322:Religious subjects
3154:"Van Dyck Anthony"
3139:Van Dyck 1599–1641
3103:. 20 August 1999.
2782:Pigment Compendium
2315:The New York Times
2255:The New York Times
2201:Ellis Waterhouse,
2073:"Anthony van Dyck"
1418:The estate of the
1266:
1226:When van Dyck was
1200:is wearing such a
1171:
1112:
1055:whilst in London.
1040:
985:
981:The Cheeke Sisters
919:
914:Sir Jeffrey Hudson
883:
873:Samson and Delilah
850:Cardinal Richelieu
754:
695:
635:Orazio Gentileschi
618:
504:
473:
444:James I of England
414:
374:
144:Hendrick van Balen
123:Kingdom of England
21:Van Dyck (surname)
3989:
3988:
3969:Peter Paul Rubens
3821:William Killigrew
3434:Madonna and Child
3315:List of paintings
3273:
3272:
3264:Succeeded by
3218:Peter Paul Rubens
3186:(Subscription or
3070:978-1-85437-795-1
2816:978-1-250-02492-3
2792:, 9781136373923,
2780:"Vandyke brown",
2740:978-0-313-33664-5
2709:978-1-85709-362-9
2690:Brown, pp. 84–86.
2672:Prints and People
2443:(Subscription or
2429:978-0-19-861412-8
2385:978-0-8047-2261-2
2237:Painting at Court
1948:Chantilly, France
1430:(Portrait of Sir
1383:Virgin with Child
1290:The Metal Serpent
1204:outfit. In 1774
935:Sophia of Hanover
930:individualistic.
897:without success.
809:granted van Dyck
793:English Civil War
775:and the Earls of
731:Earl of Strafford
693:April–August 1632
564:Xavier F. Salomon
500:Peter Paul Rubens
400:Peter Paul Rubens
355:Antwerp Cathedral
264:Peter Paul Rubens
217:
216:
149:Peter Paul Rubens
90:Anthonio van Dyck
4084:
4032:Knights Bachelor
3664:Cupid and Psyche
3490:The Resurrection
3306:Anthony van Dyck
3299:
3292:
3285:
3276:
3248:Preceded by
3240:
3231:
3191:
3183:
3164:
3162:
3160:
3125:
3124:
3122:
3120:
3111:. Archived from
3093:
3087:
3086:
3079:
3073:
3052:
3046:
3045:
3043:
3041:
3027:
3021:
3020:
3018:
3016:
3005:"Anton Van Dyck"
3001:
2995:
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2918:
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2899:
2893:
2892:
2890:
2888:
2874:
2868:
2858:Royal Collection
2855:
2849:
2848:
2830:
2824:
2823:
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2796:
2778:
2772:
2755:
2749:
2748:
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2720:
2717:
2711:
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2688:
2682:
2668:
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2648:
2639:
2625:Arthur M. Hind,
2623:
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2585:
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2565:
2556:
2555:
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2551:
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2491:
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2468:
2462:
2457:Gaunt, William,
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2097:
2088:
2087:
2085:
2083:
2069:
2063:
2057:
2051:
2045:
2025:
1978:
1942:, 1632 or 1634.
1934:
1914:Prince of Orange
1900:
1887:
1884:
1875:
1852:
1832:Portrait of Sir
1829:
1814:
1796:
1779:
1767:Cupid and Psyche
1762:
1752:
1749:
1738:
1725:
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1545:
1542:
1531:
1516:
1507:
1504:
1493:
1480:
1477:
1466:
1452:
1413:Frick Collection
1351:Crucified Christ
1334:Frick Collection
1326:Washington, D.C.
1283:
1270:Royal Collection
1168:Royal Collection
1146:Flemish painter
1137:Adriaen Hanneman
1061:Calcographie du
996:detailed are of
923:Sir Kenelm Digby
881:
878:
748:
745:
621:London and death
615:
612:
496:Anthony van Dyck
234:
229:
209:
189:
187:
114:
73:
63:Anthony van Dyck
54:
4092:
4091:
4087:
4086:
4085:
4083:
4082:
4081:
4012:Flemish etchers
3992:
3991:
3990:
3985:
3951:
3929:Other paintings
3924:
3879:
3691:Theresa Shirley
3670:
3616:Drunken Silenus
3603:
3561:
3555:
3317:
3308:
3303:
3269:
3260:
3251:
3216:
3198:
3185:
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3151:
3134:
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3118:
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3095:
3094:
3090:
3081:
3080:
3076:
3062:Tate Publishing
3053:
3049:
3039:
3037:
3029:
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2921:
2911:
2909:
2901:
2900:
2896:
2886:
2884:
2876:
2875:
2871:
2865:Wayback Machine
2856:
2852:
2845:
2832:
2831:
2827:
2817:
2804:
2803:
2799:
2779:
2775:
2760:; Honey, W.B.,
2756:
2752:
2741:
2728:
2727:
2723:
2718:
2714:
2698:
2694:
2689:
2685:
2669:
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2549:
2547:
2546:on 27 June 2009
2534:
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2290:
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2243:
2231:
2227:
2223:Brown, page 19.
2222:
2218:
2213:
2209:
2200:
2175:
2170:
2166:
2149:Vlieghe, Hans.
2148:
2144:
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2107:
2098:
2091:
2081:
2079:
2071:
2070:
2066:
2058:
2054:
2046:
2039:
2034:
2029:
2028:
2014:the beard style
1979:
1975:
1970:
1958:
1951:
1935:
1926:
1901:
1892:
1885:
1876:
1867:
1853:
1844:
1830:
1821:
1815:
1806:
1797:
1788:
1780:
1771:
1763:
1754:
1750:
1739:
1730:
1723:
1714:
1705:
1701:
1690:
1681:
1673:
1664:
1658:
1649:
1641:
1632:
1631:, Antwerp, 1630
1626:
1617:
1611:Alte Pinakothek
1606:
1595:
1586:
1582:
1572:
1563:
1559:Nicholas Lanier
1555:
1546:
1543:
1532:
1523:
1517:
1508:
1505:
1494:
1485:
1478:
1467:
1458:
1453:
1444:
1387:Cerralbo Museum
1357:houses a great
1314:Alte Pinakothek
1280:Museo del Prado
1252:
1206:Derby porcelain
1184:van Dyke collar
1176:
1108:Adriaen Brouwer
1100:
1006:
927:Eros and Psyche
906:Henrietta Maria
879:
866:
825:lady-in-waiting
817:Patrick Ruthven
789:Parliamentarian
751:Museo del Prado
746:
666:Henrietta Maria
655:Endymion Porter
623:
613:
452:Earl of Arundel
436:
351:
346:
298:Diego Velázquez
228:Antoon van Dyck
191:
188: 1640)
183:
179:
147:
125:
116:
112:
111:9 December 1641
103:
94:
92:
91:
81:
64:
61:
52:
31:
24:
17:
12:
11:
5:
4090:
4088:
4080:
4079:
4074:
4069:
4067:Stepney family
4064:
4059:
4054:
4049:
4044:
4039:
4034:
4029:
4024:
4019:
4014:
4009:
4004:
3994:
3993:
3987:
3986:
3984:
3983:
3981:Van Dyke beard
3978:
3977:(collaborator)
3972:
3966:
3959:
3957:
3953:
3952:
3950:
3949:
3948:(c. 1618–1620)
3941:
3932:
3930:
3926:
3925:
3923:
3922:
3916:
3908:
3900:
3894:
3887:
3885:
3884:Self-portraits
3881:
3880:
3878:
3877:
3869:
3861:
3853:
3841:
3833:
3825:
3817:
3809:
3801:
3793:
3784:
3775:
3774:(1635 or 1636)
3767:
3759:
3751:
3743:
3735:
3727:
3726:(1632 or 1634)
3719:
3711:
3703:
3699:Robert Shirley
3695:
3687:
3678:
3676:
3672:
3671:
3669:
3668:
3660:
3652:
3644:
3636:
3628:
3620:
3611:
3609:
3605:
3604:
3602:
3601:
3596:
3591:
3586:
3581:
3576:
3571:
3565:
3563:
3557:
3556:
3554:
3553:
3552:
3551:
3546:
3541:
3536:
3531:
3526:
3521:
3516:
3502:
3494:
3486:
3478:
3470:
3462:
3454:
3446:
3438:
3430:
3429:(c. 1631–1632)
3422:
3421:
3420:
3415:
3405:
3397:
3396:
3395:
3390:
3385:
3374:
3366:
3358:
3357:(c. 1618–1620)
3350:
3342:
3334:
3325:
3323:
3319:
3318:
3313:
3310:
3309:
3304:
3302:
3301:
3294:
3287:
3279:
3271:
3270:
3267:Sir Peter Lely
3265:
3262:
3252:
3249:
3245:
3244:
3243:Court offices
3238:
3237:
3232:
3214:
3209:
3197:
3196:External links
3194:
3193:
3192:
3165:
3149:
3133:
3130:
3127:
3126:
3088:
3074:
3047:
3022:
2996:
2969:
2944:
2919:
2894:
2869:
2850:
2843:
2825:
2815:
2797:
2773:
2750:
2739:
2721:
2712:
2692:
2683:
2663:
2640:
2615:
2595:
2586:
2573:
2557:
2527:
2514:
2494:Stijn Alsteens
2486:
2472:
2463:
2450:
2428:
2391:
2384:
2364:
2343:
2320:
2301:
2283:
2260:
2241:
2233:Levey, Michael
2225:
2216:
2207:
2173:
2164:
2142:
2127:
2105:
2089:
2064:
2052:
2036:
2035:
2033:
2030:
2027:
2026:
1972:
1971:
1969:
1966:
1965:
1964:
1957:
1954:
1953:
1952:
1936:
1929:
1927:
1908:, daughter of
1902:
1895:
1893:
1877:
1870:
1868:
1854:
1847:
1845:
1831:
1824:
1822:
1816:
1809:
1807:
1802:, about 1637,
1798:
1791:
1789:
1781:
1774:
1772:
1764:
1757:
1755:
1740:
1733:
1731:
1715:
1708:
1706:
1691:
1684:
1682:
1674:
1667:
1665:
1659:
1652:
1650:
1642:
1635:
1633:
1627:
1620:
1618:
1596:
1589:
1587:
1573:
1566:
1564:
1556:
1549:
1547:
1533:
1526:
1524:
1520:Elena Grimaldi
1518:
1511:
1509:
1495:
1488:
1486:
1468:
1461:
1459:
1454:
1447:
1443:
1440:
1251:
1248:
1221:Van Dyke brown
1210:Johann Zoffany
1180:Van Dyke beard
1175:
1172:
1125:art historians
1099:
1096:
1005:
1002:
943:William Dobson
865:
862:
845:Lady Roxburghe
807:letters patent
781:Northumberland
720:Margaret Lemon
708:City of London
631:Duke of Mantua
622:
619:
569:New York Times
528:Pietro Novelli
435:
432:
350:
347:
345:
342:
330:Van Dyke beard
215:
214:
211:
210:
202:
201:
197:
196:
193:
192:
181:
177:
176:
174:
170:
169:
164:
160:
159:
156:
155:Known for
152:
151:
141:
137:
136:
131:
127:
126:
117:
115:(aged 42)
109:
105:
104:
95:
89:
87:
83:
82:
74:
66:
65:
62:
57:
15:
13:
10:
9:
6:
4:
3:
2:
4089:
4078:
4075:
4073:
4070:
4068:
4065:
4063:
4060:
4058:
4055:
4053:
4050:
4048:
4045:
4043:
4040:
4038:
4035:
4033:
4030:
4028:
4025:
4023:
4020:
4018:
4015:
4013:
4010:
4008:
4005:
4003:
4000:
3999:
3997:
3982:
3979:
3976:
3973:
3970:
3967:
3964:
3961:
3960:
3958:
3954:
3947:
3946:
3942:
3939:
3938:
3934:
3933:
3931:
3927:
3920:
3917:
3914:
3913:
3909:
3906:
3905:
3901:
3898:
3895:
3892:
3889:
3888:
3886:
3882:
3875:
3874:
3870:
3867:
3866:
3862:
3859:
3858:
3857:Olivia Porter
3854:
3852:) (1634–1635)
3851:
3847:
3846:
3842:
3839:
3838:
3834:
3831:
3830:
3826:
3823:
3822:
3818:
3815:
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3810:
3807:
3806:
3802:
3799:
3798:
3794:
3791:
3789:
3785:
3782:
3780:
3776:
3773:
3772:
3768:
3765:
3764:
3760:
3757:
3756:
3752:
3749:
3748:
3744:
3741:
3740:
3736:
3733:
3732:
3728:
3725:
3724:
3720:
3717:
3716:
3712:
3709:
3708:
3704:
3701:
3700:
3696:
3693:
3692:
3688:
3685:
3684:
3680:
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3677:
3673:
3666:
3665:
3661:
3658:
3657:
3653:
3650:
3649:
3645:
3642:
3641:
3637:
3634:
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3629:
3626:
3625:
3621:
3618:
3617:
3613:
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3610:
3606:
3600:
3597:
3595:
3592:
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3587:
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3500:
3499:
3495:
3492:
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3487:
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3479:
3476:
3475:
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3468:
3467:
3463:
3460:
3459:
3455:
3452:
3451:
3447:
3444:
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3436:
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3431:
3428:
3427:
3423:
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3416:
3414:
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3409:
3406:
3403:
3402:
3398:
3394:
3391:
3389:
3386:
3384:
3381:
3380:
3378:
3375:
3372:
3371:
3367:
3364:
3363:
3359:
3356:
3355:
3351:
3348:
3347:
3343:
3340:
3339:
3335:
3332:
3331:
3327:
3326:
3324:
3320:
3316:
3311:
3307:
3300:
3295:
3293:
3288:
3286:
3281:
3280:
3277:
3268:
3259:
3257:
3246:
3241:
3236:
3233:
3229:
3228:
3223:
3219:
3215:
3213:
3210:
3207:
3206:Oliver Millar
3203:
3200:
3199:
3195:
3189:
3181:
3177:
3173:
3172:
3166:
3155:
3150:
3148:
3147:0-900946-66-0
3144:
3140:
3136:
3135:
3131:
3114:
3110:
3106:
3102:
3098:
3092:
3089:
3084:
3078:
3075:
3071:
3067:
3063:
3059:
3058:
3051:
3048:
3036:
3032:
3026:
3023:
3010:
3006:
3000:
2997:
2984:
2980:
2973:
2970:
2958:
2954:
2948:
2945:
2933:
2929:
2923:
2920:
2908:
2904:
2898:
2895:
2883:
2879:
2873:
2870:
2866:
2862:
2859:
2854:
2851:
2846:
2844:9780954044336
2840:
2836:
2829:
2826:
2822:
2818:
2812:
2808:
2801:
2798:
2795:
2791:
2787:
2783:
2777:
2774:
2771:
2767:
2763:
2759:
2754:
2751:
2747:
2742:
2736:
2732:
2725:
2722:
2716:
2713:
2710:
2706:
2702:
2696:
2693:
2687:
2684:
2681:
2680:0-691-00326-2
2677:
2673:
2667:
2664:
2661:
2660:0-931537-15-0
2657:
2653:
2647:
2645:
2641:
2638:
2637:0-486-20954-7
2634:
2630:
2629:
2622:
2620:
2616:
2613:
2612:0-7141-2621-7
2609:
2605:
2599:
2596:
2590:
2587:
2583:
2577:
2574:
2570:
2564:
2562:
2558:
2545:
2541:
2537:
2531:
2528:
2524:
2518:
2515:
2511:
2510:9780300212051
2507:
2503:
2499:
2495:
2490:
2487:
2481:
2479:
2477:
2473:
2470:Levey, p. 128
2467:
2464:
2460:
2454:
2451:
2446:
2431:
2425:
2421:
2417:
2413:
2412:
2406:
2398:
2396:
2392:
2387:
2381:
2377:
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2368:
2365:
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2356:
2355:
2347:
2344:
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2329:
2327:
2325:
2321:
2316:
2312:
2305:
2302:
2297:
2293:
2287:
2284:
2279:
2275:
2271:
2264:
2261:
2256:
2252:
2245:
2242:
2238:
2234:
2229:
2226:
2220:
2217:
2211:
2208:
2204:
2198:
2196:
2194:
2192:
2190:
2188:
2186:
2184:
2182:
2180:
2178:
2174:
2171:Brown, p. 17.
2168:
2165:
2162:
2161:0-300-10469-3
2158:
2154:
2153:
2146:
2143:
2139:
2134:
2132:
2128:
2124:
2123:
2116:
2114:
2112:
2110:
2106:
2102:
2096:
2094:
2090:
2078:
2074:
2068:
2065:
2061:
2056:
2053:
2049:
2044:
2042:
2038:
2031:
2023:
2019:
2015:
2011:
2007:
2003:
1999:
1995:
1991:
1987:
1983:
1977:
1974:
1967:
1963:
1960:
1959:
1955:
1949:
1945:
1941:
1940:
1933:
1928:
1924:
1920:
1916:
1915:
1911:
1907:
1899:
1894:
1891:
1880:
1874:
1869:
1865:
1861:
1857:
1851:
1846:
1843:
1839:
1835:
1828:
1823:
1820:
1813:
1808:
1805:
1801:
1795:
1790:
1786:
1785:
1778:
1773:
1769:
1768:
1761:
1756:
1745:
1744:
1737:
1732:
1729:
1718:
1712:
1707:
1696:
1695:
1688:
1683:
1679:
1678:
1671:
1666:
1662:
1656:
1651:
1647:
1646:
1639:
1634:
1630:
1624:
1619:
1616:
1612:
1601:
1600:
1593:
1588:
1578:
1577:
1570:
1565:
1561:
1560:
1553:
1548:
1538:
1537:
1530:
1525:
1522:, Genoa, 1623
1521:
1515:
1510:
1500:
1499:
1492:
1487:
1484:
1473:
1472:
1465:
1460:
1457:
1451:
1446:
1441:
1439:
1437:
1433:
1429:
1428:War and Peace
1425:
1421:
1416:
1414:
1410:
1406:
1402:
1400:
1396:
1392:
1388:
1384:
1380:
1376:
1372:
1368:
1364:
1360:
1356:
1352:
1348:
1344:
1339:
1335:
1331:
1327:
1323:
1319:
1315:
1311:
1307:
1303:
1299:
1295:
1291:
1287:
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1281:
1275:
1271:
1264:
1260:
1256:
1249:
1247:
1245:
1241:
1237:
1233:
1229:
1224:
1222:
1217:
1215:
1211:
1207:
1203:
1199:
1198:
1193:
1189:
1185:
1181:
1173:
1169:
1165:
1161:
1160:
1155:
1151:
1149:
1144:
1142:
1138:
1132:
1130:
1129:country house
1126:
1122:
1116:
1109:
1104:
1097:
1094:
1090:
1088:
1084:
1080:
1076:
1072:
1067:
1065:
1064:
1056:
1054:
1050:
1045:
1037:
1033:
1029:
1025:
1023:
1019:
1015:
1011:
1003:
1001:
999:
994:
990:
982:
978:
974:
972:
969:, 1715, 41).
968:
964:
960:
956:
952:
948:
947:Robert Walker
944:
939:
936:
931:
928:
924:
916:
915:
911:
907:
902:
898:
896:
892:
888:
874:
870:
863:
861:
859:
855:
851:
846:
841:
839:
835:
831:
826:
822:
818:
814:
813:
808:
804:
801:
796:
794:
790:
786:
782:
778:
774:
770:
766:
762:
761:
752:
742:
738:
734:
732:
726:
723:
721:
717:
716:Eltham Palace
713:
709:
705:
701:
692:
688:
684:
682:
681:
675:
671:
667:
663:
662:
656:
651:
649:
648:Daniel Mytens
645:
640:
636:
632:
628:
620:
608:
607:
602:
598:
596:
591:
586:
581:
579:
575:
571:
570:
565:
561:
557:
553:
550:, as well as
549:
545:
541:
537:
533:
529:
525:
524:Luca Giordano
521:
520:Saint Rosalia
517:
513:
509:
501:
497:
493:
489:
487:
483:
479:
471:
467:
463:
459:
457:
453:
449:
445:
441:
433:
431:
428:
424:
418:
411:
407:
403:
401:
396:
394:
390:
389:Self-portrait
385:
383:
379:
371:
370:Self-portrait
367:
363:
360:
356:
348:
344:Life and work
343:
341:
339:
335:
331:
326:
324:
320:
316:
312:
308:
304:
299:
295:
290:
288:
284:
280:
276:
272:
267:
265:
261:
260:Antwerp Guild
257:
252:
250:
246:
242:
241:court painter
238:
233:
225:
221:
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208:
203:
198:
194:
175:
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157:
153:
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132:
128:
124:
120:
110:
106:
102:
98:
93:22 March 1599
88:
84:
79:
78:
72:
67:
60:
55:
50:
46:
42:
38:
33:
29:
22:
3943:
3935:
3910:
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3871:
3863:
3855:
3843:
3835:
3827:
3819:
3811:
3803:
3795:
3787:
3778:
3769:
3761:
3753:
3745:
3737:
3729:
3721:
3713:
3705:
3697:
3689:
3681:
3662:
3654:
3646:
3638:
3630:
3622:
3614:
3508:
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3336:
3328:
3305:
3258:to the King
3254:
3225:
3169:
3157:. Retrieved
3138:
3117:. Retrieved
3113:the original
3100:
3091:
3077:
3055:
3050:
3038:. Retrieved
3034:
3025:
3013:. Retrieved
3011:(in Spanish)
3008:
2999:
2987:. Retrieved
2985:(in Spanish)
2982:
2972:
2960:. Retrieved
2956:
2947:
2935:. Retrieved
2931:
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2897:
2885:. Retrieved
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2800:
2794:google books
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2582:Sinclair, W.
2576:
2568:
2548:. Retrieved
2544:the original
2540:Treasures...
2539:
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2522:
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2458:
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2067:
2055:
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2020:", with the
2017:
2009:
2005:
2001:
1993:
1985:
1981:
1976:
1937:
1904:Portrait of
1903:
1878:
1855:
1799:
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1420:Earl Spencer
1417:
1408:
1405:Tate Britain
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1338:Wilton House
1301:
1297:
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1268:The British
1267:
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1240:coat of arms
1230:in 1632, he
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1195:
1191:
1177:
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1071:Iconographie
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4007:1641 deaths
4002:1599 births
3975:Paul de Vos
3907:(1632–1633)
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3659:(1630–1632)
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3482:Crucifixion
3461:(1629–1630)
3445:(1628–1630)
3437:(1621–1627)
3393:Minneapolis
3373:(1618–1620)
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2484:Wood (2010)
2082:14 February
1944:Musée Condé
1919:Rijksmuseum
1886: 1640
1751: 1637
1724: 1636
1702: 1635
1607: 1630
1583: 1629
1544: 1627
1506: 1622
1479: 1620
1371:El Escorial
1361:. In 2008,
1250:Collections
1087:Hyatt Mayor
1075:photography
1053:Inigo Jones
1044:printmaking
1036:Iconography
1004:Printmaking
880: 1630
812:denizenship
787:, took the
747: 1637
704:Blackfriars
614: 1638
595:altarpieces
319:watercolour
311:allegorical
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2435:6 February
2060:ULAN entry
2032:References
1917:, 1641.
1353:, and The
1345:preserves
1332:, and the
1232:anglicized
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334:knighthood
37:Dutch name
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3876:(c. 1638)
3868:(c. 1636)
3840:(c. 1622)
3766:(c. 1635)
3710:(c. 1623)
3675:Portraits
3534:1629–1630
3109:0307-1235
2550:29 August
2339:Cust 1899
1923:Amsterdam
1910:Charles I
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1501:, Genoa,
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860:in 1666.
798:The King
674:The Hague
639:Artemisia
502:(1627–28)
372:, 1613–14
200:Signature
140:Education
3971:(master)
3965:(master)
3897:New York
3584:New York
3159:28 April
3064:, 2009.
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2006:Anthonio
1982:Anthonis
1956:See also
1858:, 1631.
1704:, Louvre
1397:owns an
1261:, 1635,
1228:knighted
1214:the King
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1192:Van Dyke
1083:Whistler
1022:engraver
908:and the
889:for the
785:Pembroke
769:Cavalier
644:knighted
590:Brussels
585:Veronese
578:COVID-19
544:New York
315:biblical
283:Isabella
279:etchings
163:Movement
158:Painting
45:van Dyck
35:In this
3956:Related
3860:(1630s)
3781:(Turin)
3569:Houston
3383:Bristol
3132:Sources
3119:4 April
3040:3 April
3015:3 April
2989:3 April
2962:3 April
2937:3 April
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2002:Antonio
1998:Italian
1994:Antoine
1986:Antonie
1842:Althorp
1442:Gallery
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580:virus.
548:Palermo
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512:Palermo
480:, says
470:The Met
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256:Antwerp
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3143:ISBN
3121:2019
3105:ISSN
3066:ISBN
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3017:2020
2991:2020
2964:2020
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