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    Anthony Van Dyck
    Anthony Van Dyck
    Anthony Van Dyck
    Ebook206 pages1 hour

    Anthony Van Dyck

    By Natalia Gritsai

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    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 and 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 light and nuanced palette, and reproduced, with the greatest virtuosity, garments of velour, satin, and silk. Van Dyck is considered the founder of the English school of portraiture. He was an influence on Lely, Dobson, Kneller, and most notably Reynolds and Gainsborough, as well as French painters of the 18th century.
    LanguageEnglish
    PublisherParkstone International
    Release dateDec 9, 2019
    ISBN9781783104284
    Anthony Van Dyck

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      Book preview

      Anthony Van Dyck - Natalia Gritsai

      NATALIA GRITSAI

      Van Dyck

      1599–1641

      Text: Natalia Gritsai

      Cover: Stéphanie Angoh

      Layout: Griet De Vis

      © Confidential Concepts, Worldwide, USA

      © Parkstone Press USA, New York

      © Image Bar www.image-bar.com

      ISBN: 978-1-78310-428-4

      All rights reserved.

      No part of this publication may be produced or adapted without the permission of the copyright holder, throughout the world.

      Unless otherwise specified, copyright on the works reproduced lies with the respective photographers. Despite intensive research, it has not always been possible to establish copyright ownership. Where this is the case, we would appreciate notification.

      Contents

      VAN DYCK’S PAINTINGS IN THE HERMITAGE THE HISTORY OF THE COLLECTION

      THE FIRST ANTWERP PERIOD Around 1616-1621

      THE ITALIAN PERIOD 1621-1627

      SECOND ANTWERP PERIOD 1628-1632

      THE ENGLISH PERIOD 1632-1641

      BIOGRAPHICAL OUTLINE

      BIBLIOGRAPHY

      INDEX OF WORKS

      NOTES

      VAN DYCK’S PAINTINGS IN THE HERMITAGE THE HISTORY OF THE COLLECTION

      To this day the name of the seventeenth-century Flemish painter Anthony van Dyck (1599–1641) remains a symbol of artistic refinement. Yet his real contribution to art lies in his novel approach to the representation of the subject, his perception of each human being as a unique individuality which reveals itself only on direct contact, not through mere contemplation. In his day Van Dyck had his greatest success as a portraitist. He created painted portraits throughout his life, and in his later periods graphic portraits as well. It was as a portraitist that the artist gained worldwide recognition and went down in the history of seventeenth-century European art.

      As an artist of great creative range, however, Van Dyck worked in many genres: he produced historical compositions, allegorical pictures, landscapes – and was well able to tackle any artistic task. And if his thematic compositions often display a portraitist’s power of observation, his portrait style bears the mark of the techniques used in historical pictures.

      Van Dyck’s portraits are of diverse type. The range of his powers as a portraitist seems infinite, stretching from fleeting sketches done on the move or from memory to painstaking studies from life, from intimate works to grand, monumental portraits and often humorous historical pictures depicting the subject in the guise of a character from classical mythology or a contemporary play. The artist’s portrait gallery is a real monument to his time, and presents us with both a living image of the artist’s contemporaries and that ideal of the beautiful individual which he established in his art…

      Van Dyck’s age marked a new stage in the art of the small country of the South Netherlands (often called Flanders, after its largest province). It was a time that saw the development, followed by the brilliant affirmation, of the national school of painting. The Dutch rebellion of the late sixteenth century led to the secession of the northern provinces (Holland) to become the independent republic of the United Provinces, while the southern provinces remained under Spanish rule. Netherlandish art split into two independent national schools – the Dutch and the Flemish.

      The greatest achievements of seventeenth-century Flemish art are linked with Rubens and his close associates, of whom Van Dyck was indisputably the finest. Peter Paul Rubens (1577–1640) was the recognized leader of the Flemish School. He set Flemish culture on new paths by creating art that was closely in tune with its time, art that was imbued with a sublime humanist spirit, vividly emotional, dynamic, passionate, bursting with life-affirming power. Van Dyck transformed Rubens’ artistic discoveries in his own special way, attaining a skill in portraiture that remains unmatched.

      The Hermitage collection (with which this publication mostly concerns itself), supplemented by some of the master’s pictures in other museums, allows us to form a comprehensive picture of Van Dyck’s portrait œuvre. It includes works from all the artist’s creative periods: the First and Second Antwerp Periods, the Italian Period, and the English Period, forming one of the largest sections in the Hermitage’s collection of Flemish art, which also features important paintings by other leading Flemish masters – Rubens, Jordaens, and Snyders. All of these collections belong to the core of the Museum’s old collection dating from the eighteenth century, a time when the works of Flemish painters were ranked as some of the most coveted items in Western Europe. They were particularly in demand in Paris – Europe’s most important art market. From the 1760s almost to the end of the century, the French capital was the principal source of paintings for the rapidly expanding picture gallery of St Petersburg’s Hermitage.

      The foundations of this museum born in the Age of Enlightenment were laid by Empress Catherine the Great (1729–96). In 1764 she acquired the collection of the Berlin merchant Johann Ernest Gotzkowsky, who offered the Empress his pictures through the Russian ambassador in Prussia, in settlement of his debt to the Russian treasury. Ever since, 1764 has been taken as the date of the foundation of the Hermitage. Catherine the Great’s successes in the field of collecting were greatly aided by the fact that she was able to enlist as intermediaries and experts such eminent connoisseurs as the celebrated French philosopher and art critic Denis Diderot, the sculptor Etienne Maurice Falconet, the encyclopedist Melchior Grimm, and the Russian ambassador in Paris and subsequently The Hague, Dmitry Golitsyn. The last was one of the most enlightened figures of Catherine’s time, an honorary member of the Academy of Arts in St Petersburg, and a friend of Diderot and Falconet.

      It was Golitsyn, in particular, who acted on behalf of the Empress to acquire pictures for the Hermitage collection. Golitsyn maintained close links with Diderot and Grimm, and also with the Geneva collector François Tronchin, who had contacts in Parisian artistic circles. He strove never to miss the opportunity of making an interesting

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