Antonis van Dyck / Sir Anthony van Dyck, Antwerpen 1599 - London 1641
Alice Bankes, Lady Borlase
National Trust, Kingston Lacy, UK
Tags: Sir Anthony van Dyck Antonis van Dyck Anton van Dyck Antoon van Dyck Antoine van Dyck Alice Bankes Lady Borlase National Trust Kingston Lacy
© All Rights Reserved
Antonis van Dyck (Antwerpen 1599 - London 1641)
Anne Killigrew und eine unbekannte Dame (ca. 1638) / Portrait of Ladies in Waiting to Queen Henrietta
Anne Killigrew, Hofdame der Königin Henrietta Maria, heiratete George Kirke und das Gemälde wir daher alternativ auch als "Anne Kirke und eine unbekannte Dame" bezeichnet.
Staatliche Eremitage, St. Petersburg
Tags: Sir Anthony van Dyck Antonis van Dyck Anthonis van Dyck Anton van Dyck Antoon van Dyck Antoine von Dyck The State Hermitage St. Peterburg Anne Killigrew und eine unbekannte Dame Anne Killigrew and an unknown Lady Anne Kirke und eine unbekannte Dame Anne Kirke and an unknown Lady Portrait of Ladies in Waiting to Queen Henrietta Staatliche Eremitage St. Petersburg
© All Rights Reserved
Antonis van Dyck (Antwerpen 1599 - London 1641)
Bildnis der Margaret Lemon (um 1638)
The British Royal Collection, London
Margaret Lemon war van Dycks Geliebte, bevor er Mary Ruthven ehelichte.
(Margret Lemon was van Dyck's mistress before his marriage to Mary Ruthven.)
Tags: Antonis van Dyck Sir Anthony van Dyck The British Royal Collection Bildnis der Margaret Lemon Portrait of Margaret Lemon Anthonis van Dyck Anton van Dyck Antoon van Dyck Antoine van Dyck
© All Rights Reserved
Antonis van Dyck / Sir Anthony van Dyck, Antwerpen 1599 - London 1641
Bildnis eines Mannes in Rüstung, möglicherweise Marchese Spinola - Portrait of a Man in Armor, eventually Marchese Spinola (1625 - 27)
Cincinnati Art Museum, USA
Like his compatriot and teacher Peter Paul Rubens before him, Anthony van Dyck traveled to Italy to study ancient classical sculpture and works by the great artists of the Renaissance. With introductions from Rubens, he spent considerable time in Genoa painting portraits of several noble families; today these are regarded as some of the most striking images from the Baroque era. The identity of the old man in armor is unknown, but the early history of the painting suggests that he belonged to either the Spinola or the Balbi family. Despite his anonymity, the gentleman has commanded attention since the late 1600s, when the portrait was first recorded in a Genoese collection.
In his large-scale portraits, van Dyck posed his figures elegantly and dramatically, drawing attention to their affluence and aristocratic status. Frequently he enhanced the portraits with allusions to classical antiquity–in this case, the classical column at right–intended to reflect the sitters’ erudition and nobility. The grandeur and sophistication of van Dyck’s portrait compositions made them enormously influential throughout Europe. They were the inspiration for “grand manner” portraits by Gainsborough, Reynolds, and a host of portrait painters well into the twentieth century.
Source: Cincinnati Art Museum
Tags: Anthonis van Dyck Sir Anthony van Dyck Anton van Dyck Antoon van Dyck Antoine van Dyck Antonis van Dyck Bildnis eines Mannes in Rüstung Portrait of a Man in Armor Cincinnati Art Museum USA
© All Rights Reserved
Antonis van Dyck (Antwerpen 1599 - London 1641)
Catherine Howard, Lady d'Aubigny (ca. 1638)
The National Gallery of Art, Washington DC
Catherine Howard married George, Lord d'Aubigny, in 1638, and Van Dyck's portrait is stylistically consistent with the date of her wedding. She holds a rose garland, a traditional emblem of betrothal. Van Dyck imbued her image with the elegance that pervaded the court of Charles I, where beauty was equated with idealized love and spiritual fulfillment.
Source: NGA
Tags: Sir Anthony van Dyck Antonis van Dyck Anthonis van Dyck Anton van Dyck Antoon van Dyck Antoine van Dyck National Gallery of Art Washington DC Catherine Howard Lady d'Aubigny
© All Rights Reserved