Van Dyck was accustomed early to Rubens'sumptuous lifestyle; and, when he visited Italy with letters of introduction from his master, lived in the palaces of his patrons, himself adopting such an elegant ostentation that he was spoken of as ‘the Cavalier Painter'. After his return to Antwerp his patrons belonged to the rich and noble class, and his own style of living was modelled on theirs; so that, when in 1632 he received the appointment of court painter to Charles I of England, he maintained an almost princely establishment, and his house at Blackfriars was a resort of fashion. The last two years of his life were spent travelling on the Continent with his young wife, the daughter of Lord Gowry. His health, however, had been broken by the excesses of work, and he returned to London to die. He was buried at St. Paul's Cathedral. Van Dyck tried to amalgamate the influences of Italy (Titian, Veronese, Bellini) and Flanders and he succeeded in some paintings, which have a touching grace, notably in his Madonnas and Holy Families, his Crucifixions and Depositions from the Cross, and also in some of his mythological compositions. In his younger days he painted many altarpieces full of sensitive religious feeling and enthusiasm. However, his main glory was as a portraitist, the most elegant and aristocratic ever known. The great Portrait of Charles I in the Louvre is a work unique for its sovereign elegance. In his portraits, he invented a style of elegance and refinement which became a model for the artists of the seventeenth and eighteenth centuries, corresponding as it did to the genteel luxury of the court life of the period. He is also considered one of the greatest colourists in the history of art.

lgrsnf/N:\!genesis_files_for_add\_add\_books\Parkstone - Great Masters - Anthony van Dyck (Parkstone International 2004).pdf

nexusstc/Anthony van Dyck/55b811bc45d7aa90d8b27bf34cdda0a3.pdf

Van Dyck : 1599-1641

Natalʹi︠a︡ Ivanovna Grit︠s︡aĭ

Victoria Charles

Natalia Gritsai

Sirrocco Publishing Ltd

Parkstone Press Ltd

Confidential Concepts, Inc., [New York], 2004

United Kingdom and Ireland, United Kingdom

Great masters, New York, 2004

lg2860394

{"edition":"1","isbns":["1780423020","9781780423029"],"publisher":"Parkstone International"}

La carrera del pintor flamenco del siglo XVII, Van Dyck, fue tan corta como deslumbrante. Fue alumno de Rubens y se convirtió rápidamente en el pintor favorito de príncipes y reyes y fue el retratista de las familias inglesas e italianas de la nobleza. Con sus composiciones rigurosas, Van Dyck dotaba a sus modelos de dignidad, grandeza y espiritualidad. Damas orgullosas, señores retozando con sus caballos: Van Dyck sabía cómo representar la elegancia indiferente y el tedio de una sociedad refinada.<br>
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Fue un pintor barroco con un estilo reluciente, jugaba con una paleta clara y matizada, y reproducía las prendas más virtuosas: el terciopelo, el raso y la seda.<br>
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Van Dyck es considerado el fundador de la escuela inglesa de pintura de retratos. Ejerció influencia sobre Lely, Dobson, Kneller, y en especial Reynolds y Gainsborough, así como también sobre pintores franceses del siglo XVIII.

17th-century Flemish painter Van Dyck's career was as short as it was dazzling. A student of Rubens, he very quickly became the favourite painter of princes and kings and was the portraitist of English and Italian families of the high nobility. With his rigorous compositions, Van Dyck endowed his models with dignity, grandeur, and spirituality. Proud ladies, lords gambolling on their horses -- Van Dyck knew how to render the nonchalant elegance and the ennui of a refined society. A Baroque painter with a shimmering style, he played with a palette light and nuanced, and reproduced with the great

Contents......Page 5
VAN DYCK’S PAINTINGS IN THE HERMITAGETHE HISTORY OF THE COLLECTION......Page 7
THE FIRST ANTWERP PERIOD17Around 1616-1621......Page 17
THE ITALIAN PERIOD......Page 57
SECOND ANTWERP PERIOD......Page 87
THE ENGLISH PERIOD......Page 107
Notes......Page 153
Biographical Outline......Page 154
ANTWERP. 1627–32......Page 155
Bibliography......Page 156
Index of Works......Page 157

2020-11-29