Sir Anthony van Dyck

Dyck, Anthonie van
van Dyck, Anthony Sir

Flemish, 1599 - 1641

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William Wynne Ryland, Sir Anthony van Dyck, Jacob Persuaded to Send Benjamin with His Brethren into Egypt, 1762, stipple etching and roulette on laid paper, Ellwanger/Mescha Collection, 2017.19.1

Jacob Persuaded to Send Benjamin with His Brethren into Egypt

William Wynne Ryland, Sir Anthony van Dyck · 1762 · stipple etching and roulette on laid paper ·  Accession ID  2017.19.1

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Le Cabinet des plus beaux Portraits ... faits par le fameux Antoine van Dyck

Sir Anthony van Dyck, Various Artists · published c. 1720s · 1 vol: ill: 125 etchings and engravings constituting van Dyck's "Iconography"; title p. for the c. 1720s ed. with etched and engraved illus.; 4-page text entitled "Abrege de la vie de Antoine van Dyck" with etched and engraved tail-piece; and "Catalogue des noms des portraits contenues dans le livre." ·  Accession ID  1990.125.1

Pieter de Jode II, Sir Anthony van Dyck, Mary, Wife of William II of Orange, 1641, engraving, Rosenwald Collection, 1950.14.851

Mary, Wife of William II of Orange

Pieter de Jode II, Sir Anthony van Dyck · 1641 · engraving ·  Accession ID  1950.14.851

A woman with a pale, peachy skin stands wearing a voluminous rose-pink, silk dress and holding a wreath of pink and white roses and greenery in this vertical portrait painting. Shown from the hips up, her body faces our right in profile, and she turns to look at us from the corners of her dark gray eyes. Her light brown hair is pulled up but curls frame her oval face and pointed chin, and falls in ringlets to the base of her neck. She has gently curved eyebrows, a straight nose, and her small pink lips are closed. There may be some red flowers in her hair, but these are lost in the nearly black background. She wears a short necklace made of large, round pearls and large, teardrop pearl earrings hang from her lobes. Her long pink dress is cut low across her bust and wraps around her shoulders and across her back. A pearl adornment is affixed to her dress at the shoulder we can see. The sleeve of her right arm, closer to us, billows to her forearm, which ends with a wide, white, ruffled cuff. She holds the rose wreath with her right hand up at chest height. A sash of stiff, crinkled, tan, sheer fabric loosely wraps around her chest and back. The inscription “LADY AVBIGNY” is painted in tan lettering against the dark brown background at the woman’s waist level on our right.
Sir Anthony van Dyck, Catherine Howard, Lady d'Aubigny, c. 1638, oil on canvas, Widener Collection, 1942.9.95

Catherine Howard, Lady d'Aubigny

Sir Anthony van Dyck · c. 1638 · oil on canvas ·  Accession ID  1942.9.95

A man with pale skin, wearing a gold-embroidered amber-yellow jacket and tomato-red pants, stands in front of a rocky outcropping with a distant view beyond in this vertical portrait painting. At the center of the composition and taking up most of it, the man stands with his body facing us, but he turns his head slightly to our left and looks off in that direction with slate-blue eyes under curving brows. His smooth cheeks are lightly flushed in his oval face. His full pink lips are closed and are framed by a mustache and small, pointed goatee under his lower lip. His wavy brown hair falls in bangs across his forehead and down to his shoulders. One longer lock has been braided and tied with a yellow and red bow, which rests on the front of his left shoulder, to our right. A wide, lace collar extends from his neck to drape over his shoulders, overlapping a piece of metal armor around the neck, called a gorget. His yellow jacket, a doublet, is embroidered with gold along the hems and where it hangs open down the front to show a white shirt beneath. The silver sleeve we can see is cut with a long slit along the forearm to also show the white linen beneath, and both cuffs have layers of lace at the wrists. A crimson-red coat or cape hangs over his left arm, on our right. His red pants are covered all over with gold stitching above ivory-white, calf-high boots. He holds a wide-brimmed, black hat adorned with plumes of red, white, and marigold-orange feathers in his right hand, on our left. An armored breastplate rests at his feet. He stands on a dirt ground with a tall boulder immediately behind him to our right. The landscape in the distance to our left has a sky filled with steel-gray clouds above trees and hills.
Sir Anthony van Dyck, Henri II de Lorraine, c. 1634, oil on canvas, Gift of Cornelius Vanderbilt Whitney, 1947.14.1

Henri II de Lorraine

Sir Anthony van Dyck · c. 1634 · oil on canvas ·  Accession ID  1947.14.1

A woman with pale skin, wearing a shimmering, azure-blue gown, stands next to a child with a pale pink complexion, wearing a flame-red suit in this vertical portrait painting. The woman stands at the center of the composition with her body angled to our left, but she looks at us from the corners of her brown eyes. She has a straight nose, softly arched brows, and her full, coral-pink lips are closed. A hint of a shiny silver earring pokes through brown ringlets, and one curl falls over one shoulder. Two long, white feathers droop off the side of her wide brimmed, black hat. The bodice and full skirt of her blue dress are trimmed with bands of gold along the hems, down the sleeves, and down the front of the skirt. The blue fabric is covered with short, diagonal strokes of lighter blue. White fabric covers the front of her bodice under a tall, wide, stiff, lacy white collar that extends from her chin to her shoulders. Two rose-pink bows are tied on the white fabric on her chest. The cuffs of her elbow-length sleeves have layers of white ruffles. She touches her skirt with her left hand, to our right, and with the other touches a monkey on the boy’s shoulder. To our left, the boy’s body faces us but he looks up at the woman with dark eyes. He has rounded cheeks, and his lips are parted in a slight smile. His shoulder-length blond hair reaches to his wide, lacy collar. His red suit has long sleeves, and the coat is buttoned down the front. Ivory-white gloves reach back over his forearms, and the tops of his knee-high, fawn-brown boots are folded over. He raises his left arm, closer to the woman, to hold a monkey on a tether. The monkey stands with its feet on the boy’s forearm and its front paws on the boy’s shoulder. The woman and boy stand on a wide, curved, peanut-brown stone step. A fluted column rises to our right of the woman, and a gold, brocade curtain hangs down the right edge of the canvas, partially in front of the column. A pearl-encrusted crown is tucked into the folds of the curtain. On a ledge to our left of the woman, a miniature orange tree grows in a pot. The landscape beyond has soft green trees against a blue sky mostly screened with parchment-brown clouds.
Sir Anthony van Dyck, Queen Henrietta Maria with Sir Jeffrey Hudson, 1633, oil on canvas, Samuel H. Kress Collection, 1952.5.39

Queen Henrietta Maria with Sir Jeffrey Hudson

Sir Anthony van Dyck · 1633 · oil on canvas ·  Accession ID  1952.5.39

Shown from about the hips up, a young, pale-skinned man with curly brown hair stands facing and looking at us, wearing a plum-purple coat under a golden yellow cape in this vertical portrait painting. The man’s oval face is angled a little to our left so he looks out from the corners of his gray eyes. His left eyebrow, on our right, is slightly arched. His skin is smooth and his cheeks lightly flushed. He has a long, straight nose, his pink lips are closed, and there is a faintly painted suggestion of a goatee. Wavy bangs fall across his forehead, and he has curly, chin-length hair. He stands with his right hand, on our left, on his hip, and in his other arm, he holds a wooden staff with a pewter-gray, metal, scoop-like hook at the top. White lace trims the high neck of his garment and the cuffs of his sleeves. Light reflecting off the plum-purple coat suggests a soft material, possibly velvet. Crisp reflections on the deep, butter-yellow cape fastened over one shoulder suggest satin. An emerald-green cloth hanging from the top right corner of the painting falls behind the man’s shoulder. Behind the cloth and to our left, a craggy, rocky outcropping opens to a view of a landscape with a green valley and topaz-blue mountains in the distance. Bands of golden light illuminate the cloudy sky above. The work is inscribed with yellow lettering in the lower right corner to read, “Philip Lord Wharton 1632 about ye age of 19.” The artist’s name is painted in the lower left: “P. Sr Ant: vandike.”
Sir Anthony van Dyck, Philip, Lord Wharton, 1632, oil on canvas, Andrew W. Mellon Collection, 1937.1.50

Philip, Lord Wharton

Sir Anthony van Dyck · 1632 · oil on canvas ·  Accession ID  1937.1.50

Sir Anthony van Dyck, Jan de Wael, c. 1630, etching and engraving on laid paper, Gift of Jacob Kainen, 2002.98.18

Jan de Wael

Sir Anthony van Dyck · c. 1630 · etching and engraving on laid paper ·  Accession ID  2002.98.18

Sir Anthony van Dyck, Lucas Emil Vorsterman, Titian and His Mistress, probably 1630, etching and engraving, Rosenwald Collection, 1944.14.68

Titian and His Mistress

Sir Anthony van Dyck, Lucas Emil Vorsterman · probably 1630 · etching and engraving ·  Accession ID  1944.14.68

Sir Anthony van Dyck, Lucas Emil Vorsterman, Christ Crowned with Thorns, probably 1630, etching and engraving, Gift of Addie Burr Clark, 1946.9.252

Christ Crowned with Thorns

Sir Anthony van Dyck, Lucas Emil Vorsterman · probably 1630 · etching and engraving ·  Accession ID  1946.9.252

Bibliography

1672

  • Bellori, Giovanni Pietro. Le vite de'pittori, scultori et architetti moderni. Rome, 1672: 253-264.

1753

  • Houbraken, Arnold. De Groote Schouburgh der Nederlantsche Konstschilders en Schilderessen. 3 vols. in 1. The Hague, 1753 (Reprint: Amsterdam, 1976): 1:179-188.

1844

  • Carpenter, William Hookham. Pictorial Notices: Consisting of a Memoir of Sir Anthony van Dyck, with a Descriptive Catalogue of the Etchings Executed by Him.... London, 1844.

1883

  • Branden, Franz Joseph van den. Geschiedenis der Antwerpsche Schilderschool. Antwerp, 1883521, 692-746, 929.

1971

  • Bie, Cornelis de. Het gulden cabinet van de edel vry schilderconst. Edited by Gerard Lemmens. Reprint of Antwerp, 1661/1662. Soest, 1971: 74-78.

1975

  • Larsen, Erik, ed. La vie, les ouvrages et les élèves de Van Dyck. Manuscrit inédit des archives du Louvre, par un auteur anonyme. Brussels, 1975.

1979

  • Martin, John Rupert, and Gail Feigenbaum. Van Dyck as Religius Artist. Exh. cat. Princeton University Art Museum, 1979.

1980

  • McNairn, Alan. The Young van Dyck/Le jeune van Dyck. Exh. cat. National Gallery of Canada, Ottawa, 1980.

1982

  • Brown, Christopher. Van Dyck. London, 1982.

1986

  • Barnes, Susan J. "Van Dyck in Italy 1621-1628." Ph.D. diss., Institute of Fine Arts, New York University. 2 vols. New York, 1986.

1988

  • Larsen, Erik. The Paintings of Anthony van Dyck. 2 vols. Freren, 1988.

1990

  • Wheelock, Arthur K. Jr., Susan J. Barnes, et al. Anthony van Dyck. Exh. cat. National Gallery of Art, Washington, D.C., 1990.

1994

  • Stighelen, Karlijne van der. "Young Anthony: Archival Discoveries Relating to Van Dyck's Early Career." In Barnes, Susan J., and Arthur K. Wheelock, Jr., eds. Van Dyck 350. Hanover and London, 1994.

1997

  • Barnes, Susan, Piero Boccardo, et al. Van Dyck a Genova. Grande pittura e collezionismo. Exh. cat. Palazzo Ducale, Genoa, 1997.

1999

  • Brown, Chistopher, Hans Vlieghe, et al. Van Dyck 1599-1641. Exh. cat. Koninklijk Museum voor Schone Kunsten, Antwerp; Royal Academy of Arts, London. Antwerp and London, 1999.

2004

  • Barnes, Susan J., Nora De Poorter, Oliver Millar, and Horst Vey. Van Dyck: A Complete Catalogue of the Paintings. New Haven and London, 2004.

2005

  • Wheelock, Arthur K., Jr. Flemish Paintings of the Seventeenth Century. The Collections of the National Gallery of Art Systematic Catalogue. Washington, D.C., 2005: 20-21.