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Anthony Van Dyck francisco goya oil painting


francisco goya
Painting ID::  58953
Anthony Van Dyck
francisco goya
mk265 the family of the duke of osuna 1788 madrid museo del prado.

   
   
     

Anthony Van Dyck sir henry raeburn,spencer oil painting


sir henry raeburn,spencer
Painting ID::  58954
Anthony Van Dyck
sir henry raeburn,spencer
mk265 second maouess of northampton 1821 privatr collection.

   
   
     

Anthony Van Dyck sir thomas lawrence oil painting


sir thomas lawrence
Painting ID::  58955
Anthony Van Dyck
sir thomas lawrence
mk265 catherinegray. lady manners 1794 cleveland museum of art

   
   
     

Anthony Van Dyck sir thomas lawrence oil painting


sir thomas lawrence
Painting ID::  58956
Anthony Van Dyck
sir thomas lawrence
mk265 elizabeth farren later cautess of derby 1790 new york the museum art

   
   
     

Anthony Van Dyck thomas phillips geord oil painting


thomas phillips geord
Painting ID::  58957
Anthony Van Dyck
thomas phillips geord
mk265 6th bayron 1813 oil co canvas 76.5 x 63.9 cm london national portait gallery.

   
   
     

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     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.

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