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Sir Anthony van Dyck
was a Flemish painter who was one of the most
important and prolific portraitists of the
17th century. He is also considered to be
one of the most brilliant colorists in the
history of art.
Van Dyck was born on March 22, 1599, in Antwerp,
son of a rich silk merchant, and his precocious
artistic talent was already obvious at age
11, when he was apprenticed to the Flemish
historical painter Hendrik van Balen. He was
admitted to the Antwerp guild of painters
in 1618, before his 19th birthday. He spent
the next two years as a member of the workshop
of the Flemish painter Peter Paul Rubens in
Antwerp. Van Dyck's work during this period
is in the lush, exuberant style of Rubens,
and several paintings attributed to Rubens
have since been ascribed to van Dyck.
Self Portrait
From 1620 to 1627 van Dyck traveled in Italy,
where he was in great demand as a portraitist
and where he developed his maturing style.
He toned down the Flemish robustness of his
early work to concentrate on a more dignified,
elegant manner. In his portraits of Italian
aristocrats—men on prancing horses, ladies
in black gowns—he created idealized figures
with proud, erect stances, slender figures,
and the famous expressive “van Dyck”
hands. Influenced by the great Venetian painters
Titian, Paolo Veronese, and Giovanni Bellini,
he adopted colors of great richness and jewel-like
purity. No other painter of the age surpassed
van Dyck at portraying the shimmering whites
of satin, the smooth blues of silk, or the
rich crimsons of velvet. He was the quintessential
painter of aristocracy, and was particularly
successful in Genoa. There he showed himself
capable of creating brilliantly accurate likenesses
of his subjects, while he also developed a
repertoire of portrait types that served him
well in his later work at the court of Charles
I of England.
Back in Antwerp from 1627 to 1632, van Dyck
worked as a portraitist and a painter of church
pictures. In 1632 he settled in London as
chief court painter to King Charles I, who
knighted him shortly after his arrival. Van
Dyck painted most of the English aristocracy
of the time, and his style became lighter
and more luminous, with thinner paint and
more sparkling highlights in gold and silver.
At the same time, his portraits occasionally
showed a certain hastiness or superficiality
as he hurried to satisfy his flood of commissions.
In 1635 van Dyck painted his masterpiece,
Charles I in Hunting Dress (Louvre, Paris),
a standing figure emphasizing the haughty
grace of the monarch.
Sir Anthony Van Dyck (1599–1641) is among the greatest
portrait painters of all time. The 1990s opened and closed with
major exhibitions devoted to his work, and now the long-awaited
catalogue raisonné of his painted oeuvre is complete.
A native of Antwerp, Van Dyck also lived and worked for long
periods in Italy and England, where his brief, productive life
ended. He is best known for his work at the court of Charles
I. His full-length portraits of aristocrats in the Caroline
court and in Genoa, Antwerp, Brussels, and The Hague influenced
the history of Western portraiture into the twentieth century
in the work of John Singer Sargent. Handsomely designed and
illustrated, the volume includes a reproduction of every known
authentic painting by the artist as well as the provenance and
the significant facts and literature on each. This catalogue
raisonné is, fittingly, the collaborative work of an
international team devoted to the study of this major international
artist.
Susan J. Barnes, an independent art historian, co-curated a
Van Dyck exhibit in Washington, D.C., 1990. Nora De Poorter
is director of the Rubenianum, Antwerp. Oliver Millar, Surveyor
Emeritus of The Queen’s Pictures, organized an exhibition
of Van Dyck’s English work at the National Portrait Gallery,
London, 1982–83. Horst Vey, former director of the Kunsthalle,
Karlsruhe, is author of the standard work on Van Dyck’s
drawings.
Famous for his so-called "swagger portraits" of 17th-century
European noblemen, Van Dyck (1599-1641) is most often seen as
a courtier interested only in flattering the rich and famous
of the baroque era. For the artist's quadricentennial last year,
British author Blake (Mind Over Medicine; Fat Man's Shadow)
produced this more sympathetic life of the painter, now published
in the U.S., recasting the relatively few facts that are known
about the painter's life. The book is divided into three sections
based on the artist's first name as it changed with his locale:
early years in Antwerp as Antoon; apprentice years in Italy
as Antonio; and finally England, where Van Dyck became Sir Anthony,
a commercial and artistic success painting the Stuarts. Blake
is not an art historian, and his book often goes out on speculative
limbs, particularly in positing romantic relationships for Van
Dyck with models, for which definitive documentation does not
exist. He relies heavily on secondary sources, but chooses them
well, making for a lively if sometimes overly romantic narrative
of the artist among the fabulously wealthy and powerful, reaching
a sad climax when Van Dyck dies (of what remains unknown) just
as his young wife gives birth to their first child. The bibliography
helpfully lists ISBNs whenever possible, and includes the address
of Blake's personal Web site devoted to Van Dyck (www.vandyck.co.uk)
as well as those of numerous sites where photos of the artist's
work may be seen. Scholars, however, would be better served
by Christopher Brown's less excitable study. 3 inserts of b&w
reproductions. (Apr.)
Copyright 2000 Reed Business Information, Inc.
Anthony Van Dyck by Alfred Moir – Hardcover,
128 pages, Published by Harry N Abrams, 1994
Anthony Van Dyck by Alfred Moir – Paperback, 384
pages, Natl Gallery of Art, 1990
Anthony Van Dyck painted kings, queens, princes, and
courtiers—indeed, it was said of him that he lived more like a
prince than a painter. This he shared with his mentor, Peter
Paul Rubens, who referred to the young Van Dyck as 'the best
of my assistants' and made him a full-fledged collaborator.
Yet Van Dyck soon broke away to develop his own individual
style—poetic, restrained, and technically virtuosic. After
a brief visit to London, he returned to Antwerp in 1621 and
was soon on his way to Italy. There, he perfected his famous
"Grand Manner" portrait—one that effectively exalted
the subject through a variety of painterly devices."
Van
Dyck: Paintings and Drawings by Lawson James, Jonathan
Glancey, Anthony Van Dyck (Creator) – Hardcover, 144 pages
(October 1999) International Book Import Service, Inc.
Anthony van Dyck's portrait of Thomas Howard marked the beginning
of the artist's brilliant international career. This study provides
a history both of Thomas Howard, one of the most enlightened
collectors and patrons England has ever known, and of van Dyck,
whose canvases established the grand tradition of portraiture
in England and on the Continent.
his catalog of the paintings of Sir Anthony Van Dyck, the first
since G. Gluck in 1931, is organized chronologically and geographically
into four parts, each containing an introductory essay by a
contributing scholar. The first two sections cover Van Dyck's
apprenticeship to Rubens, who dominated Antwerp, and his early
independent works; his departure for Italy to find clients and
establish a reputation; and his time in Rome and Genoa, where
he developed a following as a fashionable portrait painter and
courted the English and Spanish nobility. The third section
covers his return to Antwerp, when his history painting equaled
that of Rubens and his portraits were in demand. The fourth
section highlights Van Dyck's working style, noting his assembly-line
techniques as court painter to Charles I of England. In each
part, the many reproductions (150 color, 450 b&w), arranged
by subject-matter paintings followed by the portraits, are thoroughly
described by title, location, size, material, provenance, and
literature citations. This encyclopedic work should be acquired
by university, museum, and research collections and large public
libraries. —Ellen Bates, New York Copyright 2004 Reed
Business Information
Van Dyck in England by Oliver Millar – Hardcover, Published by The Stationery
Office, 1984
Van
Dyk (Masters of Art) by Alfred Moir
– Hardcover Publisher: Thames and Hudson
Ltd (November 14, 1994)
Van Dyck by Christopher Brown –
Hardcover, Published by Cornell University Press,
1983
The
Dutch Masters: Van Dyck (2000) Format:
Color, Dolby, NTSC
DVD Release Date: June 27, 2006
Run Time: 50 minutes
NOTE: Also available in a six-disc
boxed set featuring Rembrandt, Vermeer, Van
Dyck, Rubens, Bosch, Bruegel
The Dutch Masters: Van Dyck (2000)
Format:
Color, NTSC
VHS Release Date: April 28, 2000
Run Time: 50 minutes
NOTE: Also available in a six-tape
boxed set featuring Rembrandt, Vermeer, Van
Dyck, Rubens, Bosch, Bruegel
The pupil of Rubens, Anthony van Dyck followed his master’s
example by traveling to Italy as part of his artistic training.
Like Rubens, he found inspiration in the Venetian Renaissance
masters Titian and Giorgione. An enthusiasm for rich colors
and a remarkable ability to depict the texture of fabric characterized
Van Dyck’s best work. But even more than Rubens, Van Dyck
focused his attention on the art of the portraiture. Appointed
Court Painter to the English King Charles in 1632, the portraits
he produced provide an unrivaled visual insight into the noble
men and women of the day, as well as displaying his technical
mastery of the genre.
Sir Anthony Van Dyck, 1599-1999. Conjectures and Refutations.
by Rubenianum (Corporate Author), Hans Vlieghe (Editor) Paperback:
328 pages Publisher: Brepols Publishers (June 2001)
Van
Dyck Drawings
Van Dyck Drawings by Christopher Brown Hardcover Publisher:
Harry N Abrams (September 10, 1991)
This lavishly produced book, containing over 100 color illustrations
of Van Dyck's drawings (most reproduced full size), is a companion
catalog to an exhibition that appeared at the Pierpont Morgan
Library (New York) and the Kimbell Art Museum (Ft. Worth). The
drawings span the artist's early years as an apprentice with
Rubens to the last year of his life. The lucid introduction
and catalog entries are amply footnoted, and Brown does an excellent
job of elaborating on the technical and iconographical aspects
of the artist's drawings. Especially helpful are the extensive
introductions to groups of drawings relating to a particular
project or theme. The book is rich in supporting illustrations
(more than 250 in black in white), which indicate the drawings'
relationships to Van Dyck's paintings and the works of other
artists. There is also an extensive bibliography, a chronology
of Van Dyck's life, and an annotated translation of Bellori's
brief biography of the artist. Along with Arthur K. Wheelock
Jr. and others' Anthony Van Dyck ( LJ 4/15/91), this book is
essential for art libraries and highly recommended for college
and larger public library collections. —David B. Hegeman,
King's Coll. Lib., Briarcliff Manor, N.Y.Copyright 1991 Reed
Business Information, Inc.
Anthony Van Dyck (1599-1641) introduced a new type of costume
in his portraits during his second English period (1632-1641),
one that blurred the margins of fact and fancy. He used costume
to forge a complex and memorable image of his English patrons,
the Caroline courtiers, one that captured their ideals and
yet had resonance for many years after his death. Van Dyck
established new conventions for the representation of dress
in portraits that held sway until the end of the seventeenth
century. Later generations of English, Dutch, and French painters,
used Van Dyck´s innovations as a touchstone for a new
manner of dressing sitters, one that was partially fictional,
and much more casual and unbuttoned than had ever been represented
before. This book shows that an understanding of dress can
offer a new way of revealing the associations and ideals that
a portait may have projected, and that the history of costume
provides a unique set of tools with which to analyze the creativity
and contributions of Van Dyck.
Van Dyck: 1599-1641
by Christopher Brown (Editor), Hans Vlieghe, Anthony Van Dyck,
Koninklijk museum – Hardcover, 352 pages (May 1999) Rizzoli
International Publications
Coinciding with the 1999 exhibitions of his paintings in Antwerp
and London, Anthony van Dyck: 1599-1641 celebrates the 400th
anniversary of the birth of the celebrated Flemish painter.
Van Dyck is perhaps best known for his religious paintings,
which are outstanding examples of the Baroque style, and he
is also considered one of the greatest portrait painters in
an age of exceptional portraitists. He revolutionized royal
portraiture in England by introducing more dynamic compositions,
often incorporating the dramatic presence of a draped curtain
leading out into a natural vista and open skies.
Like Dürer, Rembrandt and Goya, Anthony van Dyck (1599-1641)
made a key contribution to the art of printmaking. He was
himself a talented etcher, and prints after his paintings
were cut by the best engravers of his day. Yet, to date, his
printmaking has suffered from undeserved neglect. This book
discusses Van Dyck's first acquaintance with the medium in
Rubens's workshop and illuminates the genesis of the Iconography,
a portrait gallery of illustrious contemporaries. All his
etchings are catalogued together with preparatory drawings
and grisailles, as well as proofs containing corrective flourishes.
Furthermore the book includes a selection of the prints after
paintings by Van Dyck. A number of them were the initiative
of the artist himself, and others were produced on behalf
of publishers and engravers. Works from the eighteenth century
are included to illustrate the influence Van Dyck exerted
until long after his death—even in France and England.
The introductory essays discuss the collecting of Van Dyck
prints, the phenomenon of the trial proof, and technical aspects
of the etchings. Based on new archival research the biographies
are included of all those who were instrumental in the production
of the prints: engravers, publishers, and the persons to whom
they were dedicated by Van Dyck.
Many of the prints are reproduced in color and the book has
numerous comparative illustrations making it essential not
only for scholars and enthusiasts of Van Dyck's work, but
all those interested in the history of printmaking.
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Van Dyck: A Complete Catalogue of Paintings
Van Dyck: A Complete Catalogue of Paintings by Horst Vey, Susan
J. Barnes, Nora De Poorter, Oliver Millar
Anthony Van Dyck
Van
Dyck: Paintings and Drawings 
Anthony Van Dyck: Thomas Howard the Earl of Arundel
Van
Dyck 350: Center for Advanced Study in the Visual Arts Symposium
Papers Xxvi (Studies in the History of Art)
Van Dyck in England
Color, Dolby, NTSC 
Color, NTSC 
Van Dyck Drawings by Christopher Brown Hardcover Publisher:
Harry N Abrams (September 10, 1991)
Van
Dyck and the Representation of Dress in Seventeenth-Century
Portraiture
Van Dyck: 1599-1641
Anthony Van Dyck as Printmaker
Anthony Van Dyck (Great Painters Series)
