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 :. | sir george hayter | Portrat der Konigin Henrietta Maria, mit Zwerg Sir Jeffrey Hudson | paul cesar helleu | Susanna and the Elders | Interior with Peasants |
Related Artists:
Hirst, Claude Raguet
American Painter, 1855-1942
Marten de Vos
(1532-1603), also Maarten, was a leading Antwerp painter and draughtsman in the late sixteenth century.
Frederick Edwin Church
1826-1900 Frederick Edwin Church Galleries Frederic Edwin Church (May 4, 1826 ?C April 7, 1900) was an American landscape painter born in Hartford, Connecticut. He was a central figure in the Hudson River School of American landscape painters. While committed to the natural sciences, he was "always concerned with including a spiritual dimension in his works". The family wealth came from Church's father, Joseph Church, a silversmith and watchmaker in Hartford, Connecticut.(Joseph subsequently also became an official and a director of The Aetna Life Insurance Company) Joseph, in turn, was the son of Samuel Church, who founded the first paper mill in Lee, Massachusetts in the Berkshires, and this allowed him(Frederic) to pursue his interest in art from a very early age. At eighteen years of age, Church became the pupil of Thomas Cole in Catskill, New York after Daniel Wadsworth, a family neighbor and founder of the Wadsworth Atheneum, introduced the two. In May 1848, Church was elected as the youngest Associate of the National Academy of Design and was promoted to Academician the following year. Soon after, he sold his first major work to Hartford's Wadsworth Atheneum. Church settled in New York where he taught his first pupil, William James Stillman. From the spring to autumn each year Church would travel, often by foot, sketching. He returned each winter to paint and to sell his work. Between 1853 and 1857, Church traveled in South America, financed by businessman Cyrus West Field, who wished to use Church's paintings to lure investors to his South American ventures. Church was inspired by the Prussian explorer Alexander von Humboldt's Cosmos and his exploration of the continent; Humboldt had challenged artists to portray the "physiognomy" of the Andes.