Anthony van Dyck fu un artista fiammingo del XVII secolo, considerato secondo per maestria solo al suo maestro, Peter Paul Rubens. Il suo sapiente uso di colori audaci e di una pennellata sciolta, che conferiva ai suoi tessuti — in particolare alla seta — un aspetto lucente e fluido, lo aiutò a diventare il principale pittore di corte del re Carlo I a Londra.
Egli trasformò l’arte del ritratto inglese, abbandonandone le convenzioni rigide e severe per creare immagini informali e fantasiose, che avrebbero poi ispirato Joshua Reynolds e Thomas Gainsborough. Le composizioni sinuose e le emozioni esagerate delle sue scene religiose e mitologiche, nel contempo, contribuirono a definire i principi della pittura barocca nell’Europa settentrionale.
Nato ad Anversa nel 1599, già nel 1618 Van Dyck era il principale assistente di Rubens e maestro della corporazione della città. Dopo un breve periodo in Inghilterra, dove dipinse ritratti per i principali mecenati giacobiti Thomas Howard e George Villiers, trascorse circa sei anni in Italia, assorbendo l’opera del Rinascimento — in particolare quella di Tiziano, di cui acquistò non meno di 19 dipinti.
Van Dyck tornò ad Anversa nel 1627, prima di trasferirsi all’Aia nel 1631. In tutta Europa i suoi ritratti erano ricercati dall’arciduchessa Isabella, governatrice dei Paesi Bassi spagnoli; dalla regina madre Maria de’ Medici di Francia; da Federico Enrico, principe d’Orange; e dai «Re e Regina d’Inverno», Federico V del Palatinato ed Elisabetta Stuart.
Nel 1632 Van Dyck era di nuovo a Londra, dove fu nominato cavaliere e pittore di corte di Carlo I e di sua moglie, la regina Enrichetta Maria. Quel decennio lo vide raggiungere l’apice della sua carriera, realizzando alcuni dei suoi dipinti più acclamati, tra cui Autoritratto con un girasole; Lord John Stuart e suo fratello, Lord Bernard Stuart; Carlo I a caccia; e Amore e Psiche.
Nel 1640, in seguito alla morte di Rubens, si recò ad Anversa, sperando di prendere il posto del suo maestro come guida della Scuola di Anversa, ma tornò a Londra entro il maggio dell’anno successivo. In Inghilterra, tuttavia, incombeva la minaccia di una guerra civile, che turbò i suoi mecenati e compromise la sua carriera. Il 1° dicembre, sua moglie Mary Ruthven, dama di compagnia della regina, diede alla luce il loro unico figlio. Otto giorni dopo, in seguito a una malattia, Van Dyck morì all’età di 42 anni. Fu sepolto nella Cattedrale di Saint Paul, dove la sua tomba fu distrutta dal Grande Incendio di Londra del 1666.
Sir Anthony van Dyck (Antwerp 1599–1641 London)
Portrait of Princess Mary (1631–1660), daughter of King Charles I of England, full-length, in a pink dress decorated with silver embroidery and ribbons
Sir Anthony van Dyck (Antwerp 1599-1641 London)
A rearing stallion
Sir Anthony van Dyck (Antwerp 1599-1641 London)
Portrait of Hendrick Liberti (c. 1600-1669), half-length, in black, with three gold chains, holding a sheet of music, by a column
SIR ANTHONY VAN DYCK (ANTWERP 1599-1641 LONDON)
An Andalusian horse (recto) ; A wooded landscape – a sketch (verso)
SIR ANTHONY VAN DYCK (ANTWERP 1599-1641 LONDON)
Portrait of a Carmelite monk, head and shoulders
SIR ANTHONY VAN DYCK (ANTWERP 1599-1641 LONDON)
Portrait of Queen Henrietta Maria, three-quarter-length, in a gold gown
Sir Anthony van Dyck (Antwerp 1599-1641 London)
A rearing stallion
Sir Anthony van Dyck (Antwerp 1599-1641 London)
Saint Sebastian after His Ordeal
Sir Anthony van Dyck (Antwerp 1599-1641 London)
Portrait of Anne Sophia, Countess of Carnarvon (d. 1695), full-length, in a green dress with white silk bows and pearls, and gold-embroidered curtain beyond
SIR ANTHONY VAN DYCK (ANTWERP 1599-1641 LONDON)
Portrait of Willem Hondius
Sir Anthony van Dyck (Antwerp 1599-1641 London)
Portrait of a gentleman, traditionally called a Senator of Antwerp, half-length, leaning on a plinth
Sir Anthony van Dyck (Antwerp 1599-1641 London)
Portrait of Mrs. Oliver St. John, later Lady Poulett, full-length, holding pink roses, in a grey silk dress, before a draped red curtain
SIR ANTHONY VAN DYCK (ANTWERP 1599-1641 LONDON)
Portrait of a Genoese officer, three-quarter length, in armor
Sir Anthony van Dyck (Antwerp 1599-1641 London)
Head study of a man in a ruff
SIR ANTHONY VAN DYCK (ANTWERP 1599-1641 LONDON)
The Adoration of the Shepherds - a bozzetto
Sir Anthony van Dyck (Antwerp 1599-1641 London)
Portrait of a Cavalier
Sir Anthony van Dyck Antwerp 1599-1641 London
Portrait of Anne Cavendish, Lady Rich (1612-1638), full-length, in a black dress with yellow slashed sleeves, a yellow stole, and a pearl necklace and earrings, holding a rose, by a red draped curtain
Studio of Sir Anthony van Dyck (Antwerp 1599-1641 London)
Portrait of Queen Henrietta Maria (1609-1669), three-quarter-length, in a gold satin dress and lace collar and cuffs
SIR ANTHONY VAN DYCK (ANTWERP 1599-1641 LONDON)
Saint Jerome in the wilderness
SIR ANTHONY VAN DYCK (ANTWERP 1599-1641 LONDON) AND STUDIO
Christ on the cross
Studio of Sir Anthony van Dyck (Antwerp 1599-1641 London)
Portrait of François Langlois, half-length, playing a musette
SIR ANTHONY VAN DYCK (ANTWERP 1599-1641 LONDON)
Head study of a man
Attributed to Sir Anthony van Dyck (Antwerp 1599-1641 London)
Study of a bearded man, in profile - a modello
Sir Anthony van Dyck (Antwerp 1599-1641 London)
A portrait of Sir Robert Howard, K.B. (1626-1698), half-length
Studio of Sir Anthony van Dyck (Antwerp 1599-1641 London)
Portrait of Prince William II of Holland (1626-1650), full-length, with a hound
Anthony van Dyck (Antwerp 1599-1641 London)
The Holy Family with the infant Saint John Baptist adored by a saint or patron ( recto ); A group of standing men in robes ( verso )
Studio of Sir Anthony van Dyck (Antwerp 1599-1641 London)
Portrait of Henry Jermyn, the future Lord Jermyn and Earl of St Albans (1605-1684), half-length, in a black doublet and lace collar
Studio of Sir Anthony van Dyck (Antwerp 1599-1641 London)
The Betrayal of Christ
Sir Anthony van Dyck (Antwerp 1599-1641 London)
Portrait of a lady, believed to be Penelope, Lady Bayning (1620-1647), later Lady Herbert, half-length, in a blue satin gown
Attributed to Sir Anthony van Dyck (Antwerp 1599-1641 London)
Portrait of Paolo Gregorio Raggi, three-quarter-length, in armour and a red cloak, his left hand resting on the hilt of his sword, a wooded landscape beyond
Sir Anthony van Dyck (Antwerp 1599-1641 London)
Portrait of a military commander, bust-length in profile, in damascened armour with white collar and red sash
Studio of Sir Anthony van Dyck (Antwerp 1599-1641 London)
Portrait of Jan van Malderen
ANTHONY VAN DYCK (ANVERS 1599-1641 LONDRES)
Un moine franciscain, assis, levant les yeux
Studio of Sir Anthony van Dyck (Antwerp 1599-1641 London)
Portrait of Ambrogio Spinola (1569-1630), full-length, in armour, wearing the Order of the Golden Fleece, holding a baton in his right hand, his left hand resting on the hilt of his sword
Circle of Sir Anthony van Dyck (Antwerp 1599-1641 London)
Head study of an old man
Studio of Sir Anthony van Dyck (Antwerp 1599-1641 London)
Saint Paul; and Saint Thomas
Follower of Sir Anthony van Dyck
Portrait of Nicholas Rockox (1560-1640), half length, in black coat and a white ruff
Sir Anthony van Dyck (Antwerp 1599-1641 London)
Head Study of Saint Anthony of Padua
Sir Anthony van Dyck (Antwerp 1599-1641 London)
Head study of a bearded man
After Sir Anthony van Dyck
Equestrian portrait of King Charles I, full-length, in armour on a dun horse, a baton in his right hand, wearing the Order of the Garter, followed by an equerry carrying his helmet
Circle of Sir Anthony van Dyck (Antwerp 1599-1641 London)
Head of a bearded man
FOLLOWER OF SIR ANTHONY VAN DYCK
Portrait of King Charles I (1600-1649), three-quarter-length, in armour, holding a baton, with his right hand on a sphere
ANTHONY VAN DYCK (1599-1641)
Self-Portrait, from: Icones Principum Virorum
ENTOURAGE DE SIR ANTHONY VAN DYCK (ANVERS 1599-1641 BLACKFRIARS)
Portrait de Francesco de Moncada, marquis d’Aytona (1586-1635)
Attributed to Sir Anthony van Dyck (Antwerp 1599-1641 London)
Saint Simon - unfinished
Attributed to Sir Anthony van Dyck (Antwerp 1599-1641 London)
The Crucifixion with Saint Rosalia
SIR ANTHONY VAN DYCK (ANTWERP 1599-1641 LONDON)
Portrait of a woman, bust-length
STUDIO OF SIR ANTHONY VAN DYCK (ANTWERP 1599-1641 LONDON)
Portrait of Henrietta of Lorraine, Princess of Phalzburg and Lixheim (1605-1660), three-quarter-length, in a black and silver dress, with an unidentified attendant
Studio of Sir Anthony van Dyck (Antwerp 1599-1641 London)
Portrait of Doña Polissena Spinola, Marchesa de Leganés (1600-1637), full-length, seated, in a black dress
SIR ANTHONY VAN DYCK (ANTWERP 1599-1641 LONDON)
Head study of a bearded man