Sir Anthony Van Dyck , 1599-1641, Flemish portrait and religious painter and etcher, b. Antwerp. In 1618 he was received as a master in the artists' guild, but even before this he produced independent paintings in his studio. For a few years he was the skilled assistant and close collaborator of Rubens . In 1620 he was summoned to England by James I, whose portrait (now lost) he painted. The next year he went to Italy, where he studied the works of the great Venetians and painted a series of portraits of the Genoese nobility. These pictures, many of them still in the palaces of the Doria, Balbi, Durazzo, and Grimaldi families, show Van Dyck's extraordinary gift for aristocratic portraiture. Van Dyck conferred upon his sitters elegance, dignity, and refinement, qualities pleasing to royalty and aristocracy. An outstanding example is the portrait of Marchesa Elena Grimaldi (National Gall., Washington, D.C.). In 1627, Van Dyck returned to Antwerp, where he rivaled Rubens in popularity and painted a famous series of religious pictures. In 1632, Van Dyck was invited to England by Charles I. His most successful portraits of the monarch are in the Louvre and in Buckingham Palace. He was made court painter, was knighted, and was overwhelmed with commissions. Assistants were employed to enlarge his small black-and-white sketches and to paint the drapery from clothes lent by the sitter. With this preparation he was able to complete pictures very rapidly. From 1634 to 1635 he spent...
Sir Anthony Van Dyck , 1599-1641, Flemish portrait and religious painter and etcher, b. Antwerp. In 1618 he was received as a master in the artists' guild, but even before this he produced independent paintings in his studio. For a few years he was the skilled assistant and close collaborator of Rubens . In 1620 he was summoned to England by James I, whose portrait (now lost) he painted. The next year he went to Italy, where he studied the works of the great Venetians and painted a series of portraits of the Genoese nobility. These pictures, many of them still in the palaces of the Doria, Balbi, Durazzo, and Grimaldi families, show Van Dyck's extraordinary gift for aristocratic portraiture. Van Dyck conferred upon his sitters elegance, dignity, and refinement, qualities pleasing to royalty and aristocracy. An outstanding example is the portrait of Marchesa Elena Grimaldi (National Gall., Washington, D.C.). In 1627, Van Dyck returned to Antwerp, where he rivaled Rubens in popularity and painted a famous series of religious pictures. In 1632, Van Dyck was invited to England by Charles I. His most successful portraits of the monarch are in the Louvre and in Buckingham Palace. He was made court painter, was knighted, and was overwhelmed with commissions. Assistants were employed to enlarge his small black-and-white sketches and to paint the drapery from clothes lent by the sitter. With this preparation he was able to complete pictures very rapidly. From 1634 to 1635 he spent...
