anthonis van dyck henrietta av frankrike, englands drottning Painting ID:: 56680 new20/anthonis van dyck-926334.jpg
henrietta av frankrike, englands drottning mk248 van dyck bade seden lag alder kansla for olika tygers textur, drottningens lugn i denna magnifika gula klanning gor det svart att tanka sig att bon skulle drabbas bart av odet krig ocb bennes mans avrattning lag trots det framfor benne.
anthonis van dyck simson och delila Painting ID:: 70804 new23/anthonis van dyck-484743.jpg
simson och delila olja pa duk 254x146cm
1627-32
se
anthonis van dyck portratt av nicholas lanier Painting ID:: 70805 new23/anthonis van dyck-598875.jpg
portratt av nicholas lanier olja pa duk 86.2x111.5cm
1720
se
anthonis van dyck Portrat des Frans Snyders und seine Frau -- Linker Teil Painting ID:: 80051 new24/anthonis van dyck-646358.jpg
Portrat des Frans Snyders und seine Frau -- Linker Teil 1. Drittel 17. Jh.
Oil on canvas
82 x 110 cm)
cjr
anthonis van dyck King Charles II Painting ID:: 81699 new24/anthonis van dyck-368556.jpg
King Charles II 1638(1638)
Medium Oil on canvas
Dimensions 150.5 x 130.7 cm (59.3 x 51.5 in)
cyf
Flemish painter and draughtsman, active also in Italy and England. He was the leading Flemish painter after Rubens in the first half of the 17th century and in the 18th century was often considered no less than his match. A number of van Dyck's studies in oil of characterful heads were included in Rubens's estate inventory in 1640, where they were distinguished neither in quality nor in purpose from those stocked by the older master. Although frustrated as a designer of tapestry and, with an almost solitary exception, as a deviser of palatial decoration, van Dyck succeeded brilliantly as an etcher. He was also skilled at organizing reproductive engravers in Antwerp to publish his works, in particular The Iconography (c. 1632-44), comprising scores of contemporary etched and engraved portraits, eventually numbering 100, by which election he revived the Renaissance tradition of promoting images of uomini illustri. His fame as a portrait painter in the cities of the southern Netherlands, as well as in London, Genoa, Rome and Palermo, has never been outshone; and from at least the early 18th century his full-length portraits were especially prized in Genoese, British and Flemish houses, where they were appreciated as much for their own sake as for the identities and families of the sitters.