(After) Anthony Van Dyck Art
Dutch, 1599-1641
Sir Anthony van Dyck (22 March 1599 – 9 December 1641) was a Flemish Baroque artist who became the leading court painter for Charles I of England. Sir Anthony Van Dyck was born in the Netherlands and painted from an early age becoming a successful independent painter in his late teens, and a master in the Antwerp Guild in 1618. He painted in the studio of Peter Paul Rubens who became a major influence on his work. Van Dyck worked in London for some months in 1621, then returned to Flanders and travelled to Italy, where he stayed until 1627, mostly in Genoa. He spent five years in Flanders after his return from Italy, and was court painter for the archduchess Isabella, Habsburg Governor of Flanders. In 1632 he returned to London to become the main court painter to Charles I of England.
After Holbein, van Dyck and his contemporary Diego Valezquez were the first painters of pre-eminent to work mainly as court portraitists, revolutionising the genre. Van Dyck is best known for his portraits of the royals and aristocracy, most notably Charles I, and his family and associates. Van Dyck widely influenced English portrait painting for the next 150 years. His portrait style changed considerably between the different countries he worked in, culminating in the relaxed elegance of his last English period. His influence extends into the modern period. During his lifetime, Charles I granted him a knighthood, and after his death Van Dyck was buried in St Paul’s Cathedral, an indication of his high standing at the time of his death.(Biography provided by Duchess Fine Art & Antiques)
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Artist: (After) Anthony Van Dyck
"Mise au Tombeau" etching
By (After) Anthony Van Dyck
Located in Henderson, NV
Medium: etching (after the painting). Etched by Charles Albert Waltner after Van Dyck. This impression on laid paper was printed by A. Salmon and published in Paris for "L'Art" circa...
Category
1870s (After) Anthony Van Dyck Art
Materials
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Anthony van Dyck, Engraving Ernest de Mansfeld, c. 1654, Portrait, Iconographie
By (After) Anthony Van Dyck
Located in Greven, DE
A wonderfully detailed and charismatic portrait, this exquisite work illustrates the technical mastery and artistic vision of Van Dyck. Ernest de Mansfeld's stately yet approachable expression reflects Van Dyck's refined ability to comfort and relax his subjects, resulting in a realistic and acute portrait. Ernest de Mansfeld was a German military commander during the early years of the Thirty Years War. Donning his armor and an ornate, lace collar, de Mansfeld appears as a strong commander. Without a hint of a smile, he calmly gazes out, the definition of cool and collected. Van Dyck accurately captures the sense that de Mansfeld is a man who takes his job seriously, a man worthy of commanding an army in battle.
This portrait is a Mauquoy-Hendrickx State II (of II), engraved by Robertus van Voerst in collaboration with Anthony van Dyck (Antwerp, 1559 - London, 1641) as part of his Iconographie series of engraved portraits of famous people...
Category
17th Century Baroque (After) Anthony Van Dyck Art
Materials
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Double Portrait Oil Painting Brothers George, 2nd Duke Buckingham & Lord Francis
By (After) Anthony Van Dyck
Located in London, GB
Aftrer Anthony VAN DYCK - maybe Studio (1599, Antwerp – 1641, London) Flemish
Double Portrait of George Villiers, 2nd Duke of Buckingham (1628-1687) & Lord Francis Villiers (1629-1648)
Oil on Canvas
170 x 147 cm
Anthony Van Dyck (1599-1641)
No painter has done more to define an era than Anthony van Dyck. He spent only seven and a half years of his short life (1599- 1641) in England. He grew up in Antwerp, where his precocious talent was recognised by Peter Paul Rubens, the greatest painter of his age. He worked in Rubens’s studio and imitated his style as a religious artist, painting biblical scenes redolent of the lush piety of the counter-reformation. But soon he was on the move. In 1620, he visited London for a few months, long enough to paint a history picture, The Continence of Scipio, for the royal favourite, George Villiers, Marquess of Buckingham, and a portrait of his other English patron, the great art collector, Thomas Howard, 2nd Earl of Arundel.
After a stint in Italy, making imposing portraits of the wealthy aristocracy and sketching and copying works by Titian, he returned to the Spanish Netherlands in 1627, becoming court artist to Archduchess Isabella before departing for The Hague in 1631 to paint the Dutch ruler Frederick Henry, Prince of Orange. Charles I’s invitation in 1632 led Van Dyck back to London where he was knighted, paid an annual salary of £200 and installed in a house in Blackfriars with a special jetty at which the royal barge might tie up when the King was visiting his studio. By this time Van Dyck was recognised as the leading court painter in Europe, with Velazquez at the court of Philip IV of Spain his only rival. He also excelled as a superbly observant painter of children and dogs.
Van Dyck’s notoriety in depicting children led to the introduction of groups of children without their parents as a new genre into English painting (amongst other new genres).
For the next 300 years, Van Dyck was the major influence on English portraiture. Nearly all the great 18th Century portraitists, from Pompeo Batoni and Allan Ramsay to Thomas Gainsborough and Joshua Reynolds, copied Van Dyck’s costumes, poses and compositions.
George Duke of Buckingham & his brother Francis Villiers
Painted in 1635, this double portrait was originally commissioned by Charles I, who raised the two brothers after their father, George Villiers, was assassinated in 1628. Together with their sister, Lady Mary Villiers, they enjoyed the King’s favour absolutely. Francis whose absolute ‘inimitable handsomeness’ was noted by Marvell (who was killed in a skirmish near Kingston upon Thames). The young duke who commanded a regiment of horse at the Battle of Worcester, remained closely associated with Charles II, held a number of high offices after the Restoration and was one of the most cynical and brilliant members of the King’s entourage, immortalised as ‘Zimri’ in Dryden’s Absalom and Achitopbel. As a young man he had sold his father’s great collection of pictures in the Spanish Netherlands, many of them to the Archduke Leopold Willhelm.
Painted for Charles I and placed near the portrait of their sister in the Gallery at St James’ Palace. The handling of both costumes is very rich, and the heads are very carefully and sensitively worked. That of the younger boy in particular is more solidly built up than the lower part of the figure. A preparatory drawing for the younger boy is in the British Museum.
There are copies at, e.g., Highclere Castle...
Category
17th Century Old Masters (After) Anthony Van Dyck Art
Materials
Oil
Portrait of Sir Edward Littleton, First Baron Lyttleton, Old Masters Oil
By (After) Anthony Van Dyck
Located in London, GB
After Sir Anthony van Dyck (1599-1641)
Portrait of Sir Edward Lord Littleton, First Baron Lyttleton (1589-1645)
Oil on canvas
Image size: 96 by 76 cm
Hand carved auricular frame
Sir Edward Littleton was Solicitor-General to Charles I, 1634-40; Chief Justice of Common Pleas, January 1640-January 1641; Lord Keeper, 1641-45.
Painted in his robes, and wearing the chain of office...
Category
17th Century Old Masters (After) Anthony Van Dyck Art
Materials
Oil, Canvas
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Previously Available Items
A Framed Portrait of Old Master Artist Petrus de Jode by Anthony van Dyck
By (After) Anthony Van Dyck
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This is a portrait of the old master artist Petrus (Pieter) de Jode, the Younger. The engraving was done by his father Petrus de Jode, the Elder after a drawing by his fellow 17th century old master artist Anthony van Dyck, from his famous Iconography series (L'Iconographie d'Antoine Van Dyck) of portraits of eminent people of the day, many of them contemporary artists. The engraving depicts de Jode standing behind a table with engraving tools. Although originally produced in 1645, the exact date of this printing can not be determined.
This Van Dyck portrait is presented in an attractive gold and black-colored wood frame and a cream-colored silk mat. The frame is embellished with ornate gold-colored inner and outer trim and a gold-colored fillet in the style of the frame trim. There are two tiny faint spots in the left lower margin corner and a darker spot in the lower margin that may have occurred during printing. The frame and mat style are identical to another old master print listed on 1stdibs, an 18th century satirical print by William Hogarth entitled: "Some Principal Inhabitants of ye Moon: Royalty, Episcopacy and Law". This print can be viewed by placing the 1stdibs reference # LU117327130472 in the search field. These two framed prints would make a striking display grouping. A discount is available for purchase of the pair.
Sir Anthony van Dyck (1599-1641) was a Flemish Baroque artist who was a pupil of Peter Paul Rubens. He eventually rose to prominence in the Netherlands and Italy before becoming the main portrait painter in the court of King Charles I of England...
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(after) Anthony Van Dyck art for sale on 1stDibs.
Find a wide variety of authentic (After) Anthony Van Dyck art available for sale on 1stDibs. You can also browse by medium to find art by (After) Anthony Van Dyck in canvas, engraving, etching and more. Much of the original work by this artist or collective was created during the 18th century and earlier and is mostly associated with the Old Masters style. Not every interior allows for large (After) Anthony Van Dyck art, so small editions measuring 8 inches across are available. (After) Anthony Van Dyck art prices can differ depending upon medium, time period and other attributes. On 1stDibs, the price for these items starts at $100 and tops out at $53,681, while the average work can sell for $4,359.