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 Suanna and the Elders (mk08)
new6/Anthony Van Dyck-343982.jpg C.1621/22
Oil on canvas
194X144cm
Munich,Bayerische Staats-gemaldesammlungen,Alte Pinakothek
Anthony Van Dyck Portrait of Maria Louisa de Tassis (mk08)
new6/Anthony Van Dyck-349354.jpg c.1630
Oil on canvas,
130x93.5cm
Vaduz,Furst Liechtensteinische Gemaldegalerie
Anthony Van Dyck Genuese Van Dyck (mk45)
new2/Anthony Van Dyck-639534.jpg c.1622/26
Oil on canvas
200x116cm
Berlin,Staatliche Museen zu Berlin-Preubischer Kulturbesitz,Gemaldegalerie
Anthony Van Dyck Genuese Van Dyck (mk45)
new2/Anthony Van Dyck-743222.jpg c.1622/26
Oil on canvas
200x116cm
Berlin,Staatliche Museen zu Berlin-Preubischer Kulturbesitz,Gemaldegalerie
Anthony Van Dyck Portrait of Marguerite of Lorraine,Duchess of Orleans
new3/Anthony Van Dyck-936929.jpg mk67
Oil on canvas
80 5/16x46 1/16in
Uffizi,Gallery
Anthony Van Dyck Portrait of the Children of Charles I of England
new4/Anthony Van Dyck-396754.jpg mk68
Oil on canvas
Turin,Sabauda Gallery
1634
England
Anthony Van Dyck Paola adorno,Marchesa di brignole sale
new4/Anthony Van Dyck-599386.jpg mk76
Painted between 1622 and 1627
Oil on canvas
90 7/8x61 5/8in
Anthony Van Dyck James,seventh earl of derby,his lady and child
new4/Anthony Van Dyck-292437.jpg mk76
Painted between 1632 and 1641
Oil on canvas
97x84 1/8in
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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