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.  Related Paintings of Anthony Van Dyck :. | Portrait of an English Gentleman | jean auguste domnique ingres | St Martin Dividing his Cloak | Portrat eines Kindes mit Vogel | auguste garneray |
Related Artists:
Juan Antonio Escalante
Spanish Baroque Era Painter, 1633-1670 Spanish painter. He was an outstanding figure in decorative Baroque art. When quite young he moved from Andalusia to Madrid, where he apparently worked with and was influenced by Francisco Rizi. His artistic development reveals an increasing admiration for Veronese, Tintoretto and Titian, although elements of the style of Alonso Cano persist. Among his first works is Andromeda and the Dragon (c. 1659; Madrid, Prado), whose mannerist elements derive from an engraving of the subject by Agostino Carracci. The two brilliant works St Catherine of Alexandria (Madrid, Las Maravillas) and Road to Calvary (Madrid, Real Acad. S Fernando), signed and dated 1660, are executed with an agile and self-assured technique, in colours that stem from Venetian painting. Like other Spanish painters of the period, he painted numerous versions of the Immaculate Conception (e.g. 1660, Colegio de Villafranca de los Barros; 1663, Budapest, Mus. F.A.; c. 1666, Benedictine monastery of Lumbier, Navarre), which are more Baroque in style and expression than those of Jose Antolenez and Mateo Cerezo. In these the faces, surrounded by luxuriant hair, is expressed an innocent candour that contrasts with the turbulent appearance of the cherubs. Also characteristic of his style are the versions of the Annunciation (1653; New York, Hisp. Soc. America Mus; B?ziers, Mus. B.-A.). He treated the theme of St Joseph with great nobility, as in the Dream of St Joseph (1666; New York, Chrysler Col.). His deep lyrical feelings pervade the various paintings of the Infant St John (Madrid, Prado).
Alexander Ivanov
1806-1858 Russian Alexander Ivanov Galleries was a Russian painter who adhered to the waning tradition of Neoclassicism but found little sympathy with his contemporaries. Ivanov studied together with Karl Briullov at the Imperial Academy of Arts under his father, Andrey A. Ivanov. He spent most of his life in Rome where he befriended Gogol and succumbed to the influence of the Nazarenes. He has been called the master of one work, for it took 20 years to complete his magnum opus, The Appearance of Christ before the People (1837-57). It was for the next generation of art critics to do him justice. Some of the numerous sketches he had prepared for The Appearance have been recognized as masterpieces in their own right. Although Ivanov's major painting is a gem of the Tretyakov Gallery, the most comprehensive collection of his works can be viewed at the Russian Museum in St Petersburg.
HESS, Heinrich Maria von
German painter b. 1798, Dsseldorf, d. 1863, Mnchen,German painter. After training (1813-17) under Peter von Langer (1756-1824) at the Akademie der bildenden Kenste in Munich, he painted religious subjects under the influence of Peter Cornelius. In 1821 he joined the Lukasbreder, and the circle around Crown Prince Ludwig I of Bavaria, in Rome. Apollo among the Muses (1824; Munich, Neue Pin.), painted for Maximilian I, shows Hess to be among the most gifted of the German artists working in Rome. The influence of Raphael, glowing but carefully harmonized colours, gliding figures and drapery animate this early masterpiece. Among other important works from this time are exquisitely detailed and colouristically sophisticated, intimate character portraits with early Renaissance settings, such as that of Marchesa Marianna Florenzi (1824; Munich, Neue Pin.), as well as fresh and lively Naturalist landscapes from the environs of Rome, for example Campagna Landscape near Ponte Nomentano (1821-6; Hamburg, Ksthalle).