
Born: March 22, 1599 - Antwerp, Belgium
Died: December 9, 1641 - London, England

Important Art by Anthony Van DyckThe below artworks are the most important by Anthony Van Dyck - that both overview the major creative periods, and highlight the greatest achievements by the artist. | |
![]() ![]() | The Taking of Christ (1620)Artwork description & Analysis: This work depicts the moment of Christ's betrayal by his disciple Judas. Set in a wooded landscape, this biblically themed piece features a cluster of figures reaching out toward Christ who is pictured near the right side of the canvas dressed in a blue cloak. Judas is shown wearing a gold-brown robe and is positioned to the left of Christ, bestowing the kiss that completes his treachery. In the left foreground Christ's apostle Peter, with sword raised, is in the process of cutting off the ear of Malco, the High Priest's servant. Oil on canvas - Collection of Museo del Prado, Madrid, Spain |
![]() ![]() | Isabella Brant (1621)Artwork description & Analysis: This portrait features Isabella Brant, the wife of Peter Paul Rubens. She is richly dressed and holds a fan made of ostrich feathers in her left hand and a white flower in her right, probably symbols of wealth, and of love or faith, respectively. In the top left corner is a partially visible red drape which art historian Christopher Brown identifies as included by the artist, "...to disguise the hiatus between foreground and background". The landscape behind the drape is dominated by an ornate architectural feature which is, according to Brown, "...a replica of the three-arched screen that Rubens had built to link his house and studio". This was part of Rubens's recent home expansion project to demonstrate his wealth and ability and the structure became an Antwerp landmark, its Italianate style one of the first examples in Northern Europe. Oil on canvas - Collection of National Gallery of Art, Washington DC |
![]() ![]() | Lucas and Cornelis de Wael (c.1627)Artwork description & Analysis: Friends of Van Dyck, the artists Lucas and Cornelius de Wael depicted here, shared the bond of being from Antwerp. The brothers welcomed Van Dyck into their social circle when he first arrived in Genoa and this work was painted as a token of gratitude towards the brothers for their kindness and friendship. This painting is the first example of the Van Dyck double portrait, a composition which usually featured two men or women, who were often relatives or friends, painted together. Until this point double portraits usually depicted couples and Van Dyck, drawing on ideas from Raphael and Titian developed and popularized this style of friendship portrait. He is particularly known for introducing this and other new compositions to England, resulting in famous images such as Lord John Stuart and his Brother, Lord Bernard Stuart (1638). Oil on canvas - Collection of Capitoline Museums, Rome, Italy |
![]() ![]() | Samson and Delilah (1630)Artwork description & Analysis: A visualization of the Old Testament story of Samson and Delilah, in this painting Van Dyck depicts the moment after Samson has been betrayed. In the center foreground a barely clothed Samson struggles to resist the guards who are taking him to his inevitable death. This painting is Van Dyck's second recreation of the story and marks a maturity of his work. The first created between 1618 and 1620 featured a sleeping Samson in Delilah's lap as his hair is about to be cut. It is much more reserved and shows a greater influence of Rubens, who depicted the same subject. Oil on canvas - Collection of Kunsthistorisches Museum, Vienna, Austria |
![]() ![]() | Self-portrait with a Sunflower (1632-63)Artwork description & Analysis: Van Dyck stands on the left of the canvas, opulently and fashionably clothed and looking out at the viewer. With his left hand he draws the viewer's attention to the gold chain he wears and with his right hand he points to a large yellow sunflower which dominates the right side of the canvas. This work is one of many self-portraits Van Dyck created during his career although it is more dramatically rendered than most. There is considerable debate regarding the meaning of the piece, particularly the inclusion of the sunflower. Oil on canvas - Private Collection of the Duke of Westminster |
![]() ![]() | Le Roi á la Chasse (1635)Artwork description & Analysis: Le Roi á la Chasse, or Charles I at the Hunt, features the English King aristocratically attired and looking over his left shoulder at the viewer. Behind him are two attendants and his horse. The figures appear to be caught in a moment of contemplation and rest in a wooded landscape with a body of water just visible in the background. This work is an important example of the paintings Van Dyck created of the King and his family in his capacity as official court painter. While many of these portraits were more formal and functioned as a method to disseminate royal propaganda, this work is different. It portrays the King at ease, enjoying a moment of activity for his own pleasure. It also serves as a visual confirmation of the relationship between the artist and king in that Van Dyck was granted access to such a moment and felt empowered to render it on canvas. Oil on canvas - Musée du Louvre, Paris |
![]() ![]() | The Three Eldest Children of Charles I (1635)Artwork description & Analysis: The sitters in this image, from left to right are Prince Charles, Princess Mary, and James, the Duke of York. The family dog looks up at Charles while the boy absently pets his head as he gazes out towards the viewer, his authority and potential to rule clear, even at his young age and the other two children look to him reinforcing his status as the eldest. This work is one of many Van Dyck painted of children and dogs and in doing so he helped to elevate these subjects to the same level of artistic regard as adult sitters. Here, he clearly captures the unique personalities of the three children, highlighting both their status and their childhood innocence. The scene is one of a happy family and this sense of tranquility is supported by the glimpse of sky and garden in the background on the right-hand side of the scene. This is one of many carefully rendered details in the image including the interior elements of the room and the elaborate decoration on the clothing of the sitters. Oil on canvas - Collection of Galleria Sabauda, Turin, Italy |
![]() ![]() | Cupid and Psyche (1638-40)Artwork description & Analysis: This mythological scene was one of several, similarly themed, paintings that Van Dyck made at the request of King Charles I, possibly to decorate the Queen's House at Greenwich. In the story, the goddess Venus was jealous of Psyche's beauty and set her a number of tasks including the transport of an unopened casket from Hades containing a small part of Prosperine's beauty. Curious, Psyche opened the box and sent herself into a deathlike sleep. This image shows her unconscious, about to be rescued by her husband Cupid, who later grants her immortality. Set against a dramatic landscape the tree on the left is in full bloom while the one on the right, under which Psyche lays, is barren, symbolically showing her near-death state. It is thought that the model for Psyche was Margaret Lemon, a woman who was also the artist's mistress for a brief time. Oil on canvas - Royal Collection, United Kingdom |
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Content compiled and written by Jessica DiPalma
Edited and revised, with Synopsis and Key Ideas added by Kate Stephenson
" Artist Overview and Analysis". [Internet]. . TheArtStory.org
Content compiled and written by Jessica DiPalma
Edited and revised, with Synopsis and Key Ideas added by Kate Stephenson
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