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Anthony van Dyck
Antwerp, 1599-London, 1641
An artist of the next generation after Rubens, Van Dyck began his training at the age of ten in the studio of Hendrick van Balen where he is documented in 1609. Precociously talented, he was registered as a master in the painter's guild in Antwerp in 1618. Van Dyck was Rubens's most skilled follower and worked with him, his painting showing the clear influence of the older artist. In 1620 he made his first trip to England where he worked for James I. Dating to before this trip are two important religious paintings, The Crowning with Thorns and The Taking of Christ, both in the Museo del Prado (Madrid). In 1621 he went to Italy where he remained until 1627, when he is once again documented in Antwerp. In Italy he visited Venice, Rome, Florence, Bologna and Genoa. He recorded his impressions and observations of his Italian trip in a notebook now in Chatsworth in which, like Rubens, he made a note of everything which caught his attention. During this period he painted the portraits of the Marchioness Elena Grimaldi and A Lady with her Son (National Gallery, London), both outstanding examples of the large group of portraits which he executed in Genoa. In 1632 he returned to London where he worked for Charles I and where he lived until his death. During this second stay in England he made three journeys abroad, one in 1634 to the Low Countries, another in 1640 to Antwerp and a third, in 1641, to Paris. While in England Van Dyck dedicated himself almost exclusively to portraiture, whose popularity obliged him to run a large studio. Among his works of this time is the portrait of Charles I on Horseback (National Gallery, London) and the King hunting (Louvre, Paris). Van Dyck was a key figure for the later development of English portraiture.
GASKELL, I.: The Thyssen-Bornemisza Collection. Seventeenth-century Dutch and Flemish Painting. London, 1990.
LARSEN, E.: The Paintings of Anthony van Dyck. Freren, 1988.
PUYVELDE, L. Van: Van Dyck.Brussels and Paris, 1950.
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