Sir Anthony Van Dyck

CO N T E N T S k B H u h k e s Sir Anthony Van Dyc . y g St o ‘ List of su c h of the principal w ork s of Van Dyck as are in public Galleries L I ST O F I L L U ST R A T I O N S Portrait of T homas of Savoy Fron t zspzece T he R Coronation of St . osalie by the Child Jesus Minerva at the Forge of Vulcan T h e Virgin and Child with St . Joseph Saint Francis listening to Celestial M usi c Portrait of Prince Rupert of the Palatinate Portrait of Maria Louisa De T a s sis Christ on the Cross T h e Lamentation over Christ J esus bearing the Cross S h his n aint Sebastian , wit angels removing the arrows from wou ds T he Virgin and Child with two Donors Rinaldo and Armida P I ortrait of Charles . Portraits of Prince Charles Louis and Prince Rupert of B avaria Portrait of T h e Duk e of Richmond T h e Virgin and Child with the M agdalen Christ crowned with T horns P S his W Son ortraits of ebastian Leerse , ife and Saint Jerome T h e Drunk en Silenus H M l I enrietta aria , Queen to Char es . Portrait of the Painter P M R t W the ortrait of ary u hven , ife of Artist Portrait of an Artist T h e E mperor T heodosius refused admission 1rto the Church a n Portrait of Cornelius . der G eest I D Children of Charles . ( etail) LI ST O F I LLUSTR ATI O NS Cupid and Psyche T h e Virgin and Child Saint Sebastian I Charles . , his Queen and Children D Venetia , Lady igby Portrait of Queen H enrietta M aria T F S P i Portrait of homas rancis of avoy , rince de Car gnan M D R Portrait of ary Villiers , uchess of ichmond B e Cu ss a nc e - Portrait of atrice de , Princesse de Cante Croix Portrait of Lucy , Countess of Carlisle Portrait of Prince Charles 1 11 Armour Portraits of T homas Killigrew and T homas Carew a ha rl Y Portr it of C e s I . on a ellow H orse T h e Virgin and Child T h e M M St ystic arriage of . Catherine Portraits of Lord John and Lord Bernard Stuart T E A n G i a nd son Portraits of homas, arl of ru del , and his Christ on t h e Cross T h e Penitent M agdalen B F k Portrait of J . ranc W I P M D I I O n . Portraits of illiam . , rince of ra ge , and ary . aughter of Charles A W k Sir S ffi Portrait of nna a e , wife of he eld Repose of the H oly Family Portrait of Cardinal G uido Bentivoglio P ortrait of Charles V . Portrait of Jean M ontfort Portrait of Margaret of Lorraine Christ and the T ribute money T h e Crucifixion P A G M B eS ortrait of nton iulio , archese de rignol ala T h e Virgin and Child wi t h St . Anthony of Padua Portrait of a Young L a rl y T h e Virgin and Child with Angels T h e H oly Family T hree Children of Charles I . P I I S ortrait of sabella of Austria, nfanta of pain Christ on the Cross S I R A N T H O NY V A N D YCK BY H UG H ST O K E S NT HONY VAN DYCK w as born in a house in the Groot A M 2 2 1 markt at ntwerp , on arch , 599 , and his baptism took place in the cathedral church of that city on the n followi g day . His father , Frans Van Dyck , was a i k - wealthy s l merchant , and the family occupied a position of some importance amongst the . rich burghers of the ‘s D ck s famous trading centre . It is aid that the Van y migrated originally from Holland , but the story lacks ’ . corroboration , the painter s grandfather being the first of that name a D k ’ , c s of whomwe h ve actual evidence . Van y genius appears to have been inherited from his mother . The legend that Frans van Dyck was i e M Cu ers n early life a glass painter is very doubtful , but his wif , aria y p , was celebrated for her skill in embroidery and the designing of flowers . The name of Cu y pers had already appeared in the books of the Guild L . of St . uke , and a love for art was evidently hereditary in the family D ck s A Several Van y had previously practised in ntwerp as artists , but their kinship to Frans Van Dyck has never been established . ’ Of the boy s early days we know practically nothing . He was the a nd v . seventh child of a family of twelve , the eldest sur iving son Of his five surviving sisters , one married a notary , one became a nun , and u communit ‘ which two entered that c rious y , still exists in many of the larger bé ' mmz e. Flemish towns , known as a g The other brother took priestly M . orders , and became pastor in the village of inderhout The house Unfor hold of Frans Van Dyck was thus one of considerable refinement . ‘ t una t ely the mother of such spiritually inclined children d id not rule ' r M Cu ers 1 60 ove them long , for aria y p died in 7 . Two years later the boy Anthony was enrolled on the lists of the L Guild of St . uke , and then apprenticed to Hendrik Van Balen , an artist of much technical skill who had formerly been a pupil in the studio of v i i SI R ANTH ONY VAN DYCK Rubens . Whether the young Van Dyck had already been under any tuition is not known , and the exact duration of his pupilage with 1 6 1 1 6 1 Van Balen is doubtful . Between 5 and 7 he was living in an establishment separate from that of his father , sharing a large house A in ntwerp with his friend the younger Breughel , son of Velvet " . Serva es Breughel He already had pupils , one of them , and a series of pictures of Christ and th e Apostles which he painted at this time attracted the attention of Rubens . The tradition that he was the R pupil of ubens is now denied . The elder painter did not particularly 1 6 1 1 care for pupils , and , in a letter dated , told a friend that he had refused over one hundred , some being relations , and that by so doing “ he had quarrelled with close friends . Van Dyck did , however , work in R . A the studio of ubens , but as an assistant famous story relates R that one day , according to his custom , ubens left his house for a ride across country . The assistants were seldom allowed into the private - M painting room of the aster . But , anxious to see the work upon which he was engaged , they prevailed upon a servant to unlock the door . I n a crowd they rushed across the room , and by fatal mischance , some blunderer brushed against the wet canvas , injuring a most prominent part . There was but one thing to be done . It was proposed and agreed that in all haste Van Dyck shoul d endeavour to restore the . Wa s damage This he did to the general satisfaction , and it thought R that detection was impossible . Next morning ubens called the . 1ven youths into his studio , and asked for an explanation This was g , ’ ’ and Rubens action speaks W ell for the great master s urbanity of temper and sense of j ustice . So pleased was he with the dexterity ’ of Van Dy ck s brush that he allowed the work to stand without altera tion . Descamps , an early biographer , states that the picture is the famous D escent . from the Cross in Antwerp Cathedral ; but another M . authority , ariette , says that the injury occurred to the figure of St Vi r i n a dored b Sai nts Sebastian , forming part of the g y in the church of the Augustinians . Van Dyck was rapidly becoming an artist of some fame . In L 1 6 1 . February 9 he was admitted a member of the Guild of St uke , an unusual honour for one so young . It is noteworthy that on the list of the Deans of the Guild but two names appear in capital letters A R those of Rubens and Van Dyck . nthony was now the first of ubens M many assistants . From the paintings of the aster he made drawings for reproduction by the engravers , and he also completed in oils the details of the cartoons sket ched out by R ubens for reproduction in tapestry . So well known had Van Dyck become , that the Jesuits , R when they commissioned ubens for thirty large paintings , stipulated that the greater part of the preliminary work , usually carried out by less talented assistants in the huge manufactory of pi ctures controlled M t o . by the aster , should be delegated Van Dyck alone The youth Chri st beari n was also employed upon independent compositions . g SIR ANTHONY VAN DYCK the Cross was placed about this time in the Dominican church of St .

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