100% hand painted, 100% cotton canvas, 100% money back if not satisfaction.
Anthony Van Dyck
Dutch
1599-1641
Anthony Van Dyck Locations
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 studies in oil of characterful heads were included in Rubens 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.
100% hand painted, 100%
cotton canvas,
100% money back if not satisfaction.
Anthony Van Dyck tamara de lempicka
new21/Anthony Van Dyck-622749.jpg mk265 portrait of his lmperial highness grnd duke gabriel 1927.ptivate collection.
Anthony Van Dyck bermard boutet de monvel
new21/Anthony Van Dyck-883898.jpg mk265 comte pierre de quinsonas 1913.boulogne billancourt musee des annees tretn.
Anthony Van Dyck balthasar klossowski de rola
new21/Anthony Van Dyck-727333.jpg mk265 called balthus portait of the vicomtesse marie laure de noailles private collection.
Anthony Van Dyck Self Portrait With a Sunflower showing the gold collar and medal King Charles I gave him in 1633
new21/Anthony Van Dyck-878587.jpg Self Portrait With a Sunflower showing the gold collar and medal King Charles I gave him in 1633. The sunflower may represent the king, or royal patronage
Anthony Van Dyck The more intimate, but still elegant style he developed in England,
new21/Anthony Van Dyck-864394.jpg The more intimate, but still elegant style he developed in England, ca 1638
Anthony Van Dyck Samson and Delilah,
new21/Anthony Van Dyck-675454.jpg Samson and Delilah, ca. 1630. A strenuous history painting in the manner of Rubens; the saturated use of color reveals van Dyck's study of Titian.
Anthony Van Dyck Henrietta Maria and the dwarf, Sir Jeffrey Hudson,
new21/Anthony Van Dyck-556456.jpg Henrietta Maria and the dwarf, Sir Jeffrey Hudson, 1633
Anthony Van Dyck This triple portrait of King Charles I was sent to Rome for Bernini to model a bust on
new21/Anthony Van Dyck-352497.jpg This triple portrait of King Charles I was sent to Rome for Bernini to model a bust on
Dutch
1599-1641
Anthony Van Dyck Locations
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 studies in oil of characterful heads were included in Rubens 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.
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