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Passion and Patronage • PASSION AND PATRONAGE: VAN DYCK, BUCKINGHAM AND CHARLES l by Ron Harvie Departl"lent of Art Hi~tory McGill University, Montreal March, 1994 • A Thesis submi tted ta the Facul ty of Graduate Studies and Research in partial fulfilment of the requ i rements of the degree of Master of Arts (c) Ron Harvie, 1994 • • CONTENTS ABSTHACT . ii ACKNOWLE:DGEM1~NTS .................. iv LIST OF' ILLUSTRATIONS v INTRODUC'I' [ON 1 CHAPTER 1: VAN DYCK AND BUCKINGHAM IN 1620-1621 * /l'}(11/1_'' tir/d Vel/!1_, • • . • • • • • 3 * Literary and artistic sources of the painting 7 * Identification of the figures 12 * The question of pat.ronage . 26 CHAPTEH II THE CHAHACT.ERS OF VAN DYCK 1 BUCKINGHAM AND CHAHLES l • * The artist and the courtier 30 * The king and the artist 37 * The king and the courtier 4t' CHAPTER JII VAN DYCK, BUCKINGHAM AND KING CHARLES IN 1629 * RiT/aJdo ,'wei IInnIdd ...... 55 * Literary and artistic sources of the paint. ing . 57 * The raIe of the theatre 63 * A painting by Honthorst 69 * 'l'he question of patronage 73 CONCLUSION · . 78 BIBLIOGRAPHY · . 82 • ILLUSTRATIONS · . 89 ---- -------------------------------------------------- • ABSTRACT The 1632 appointment oÎ Van Dyck as Court Painter by King Charles l changed the course of art in England. But in spi te of i ts importance, the dynamics and mechanics of t.h i s event remain imperfectly understood. This paper suggests that one àe1. .. ermining factor was the Influence of George Vil:iiers, Duke of Buckjngham. An early admirer or Van Dyck, Buckingham in turn incarnated the young artist' s own aspirations to aristocratie status. For Charle , the Duke was a personal partner and aesthetic al ter-ego whose presence in the King's psyche remained ~trüng long after • Buckingham's assassination in 1628. The examination of certain of Van Dyck's paintings of the 1620's shnws how the interlocking agendas and affinities of the three men combined to affect the evolution of English art . • iii , , • RESUME La d~signation de Van Dyck ~ la position de peintre officiel par le roi Charles l en 1632 a changé le cours de l'art en Angleterre. Malgr~ l'importance de cet ~v~nement, les causes restent encore malconnues. Cette th~se propose que l' ~nf luence de George Vi 11 iers, duc de Buckingham a eu un effet indirecte su~ cette d~signation. Le duc ~tait un des premiers admirateurs anglais du jeune Yan Dyck, tandis que l'artiste, lui, voyait en Buckingham l'aristocrat Lrilliant qu'il enviait. Du côté de Charles, Buckingham était partenaire et confjdant dont l'influence continuait fortement a se faire sentir même après son assassinat en • 1628. L'analyse de certains tableaux des années 1620 révèle comment les ambitions et les affinités des trois hommes s'entrecoup~ient afin de faire évoluer l'art anglais . • iv • ACKNOWLEDGEMENTS To Professor Thomas L. Glen, my faeulty advisor, for his instinctive ability to handle not only this topie, but also this author: he always had exactly the right insights at exa0tly the right moments. Robin Simon, Editor of .4.0<111<' Magazine, London, bestowed a very much appreeiated vote of confidence. And Brenda Cobill, Chuek Pearo, Stephen Borys and David Jones provided on-going moral and oft-needed teehnological support . • • v • LIST OF ILLUSTRATIONS 1 Van Dyck, Sir G€'or 9F.! Vi Il ù.'Y';:' iJnÔ L.ü/.ly lùdlwY'.iru!! Në:WTlf.!/'.5 iiU' Ad(ITl,t_'; c:i.nd Venu$, 1620-21, oil on canvas, 224 x 164 cm., private collection. (Source: Arthur J. Wheelock, Jr., ed., Ar/ thon y vùn Dyt.: f.:, New York, 1990.) 2 Van Dyck, VeIIU.'; a7/d "'1d(lnl.5, 1618-20, oil on canvas, 175 x 175 cm., location unknown. (Source: Michael Jaffe, "Van Dyck's 'Venus and Adonis'" TlHi! lJurlinÇ/h·.)T/ Nd(/il.: 17/f' 132 [1990]) 3 Tjtian, L.~,.ly i71 iJ {-'ur 141' ap, c.1534, oil on canvas, 96.5 x 63.5 cm., Vienna, Gemaldegalerie. (Source: David Rosand, 1 il lë.W: hl'::, W(lrld a.nd hJ_' Lf.!t7ACy, New York, 1982. ) 4 RubE'ns, IIMl/Ir/a FIIur7l1~.!7d: '/-IE.'t Pvlsf..€·",' , 1638-40, panel, 175 x 96 cm., Vienna, Kunsthistorisches Museum. (Source: Peter C. Sutton, The AQe nf Rubens, Boston, 1993. ) 5 Raphael, HeY'~ury and P~y~he, 1511-12, fresco, Rome, Farnes ina. (Source: Michael Jaffe, "Rubens and Raphael", Stut./Je:> t7/ l~enal_'~émC€! /~ U~r(lqu€.' Ilrt • pre':H.'T/U'd to An'thony Blunt (ln hi, t..Oth oJ.rthday, London, 1967.) 6 Van Dyck, flll' Dudu.!,.':' ot" [Jucf.:inyllcHII cJnd hl.'1' Cllildr€'n (detail), 1634-36, oil on canvas, London, Buckingham Palace. (Source: C.R. Cammell, Th€! Ol'e.'iit Du"€! lIt" nu' l, T TI tllwm. London, 1939.) 7 William Larkin, O€.'(lr~7" VlllierJ. 1-1'r~".t l)u/~C! ('If Hud,H/(/h.~m, c. 1616, oil on canvas, 204 x 119 cm., London, National Portrait Gallery. (Source: Sir Roy Strong, rhp EnglL.h ICIIT!, London, 1969.) 8 Cornelius Johnson, G€'(Irqe VIlllf..'r3~ Flr3t Du!.e of' Bud, 1711//1,1.711, 1623-24, oi 1 on canvas , Windsor, Royal Collections. (Source: Cammell.) 9 Rubens, Ci€·(l/"(7(..' VilliE.'r_::;~ Flrst [)uke of Buckingham, chalk and ink, 38.3 x 26.6 cm., Vienna, Albertina. (Source: Ap(lllo 136 [1992]) 10 Rubens, [(lUl'-,trléW PortraIt '.11" the Dut:E.' Il't Bucf..ingheim, 1625, panel, Fort Worth, Kimbell A).'t Museum. (S:>urce: • Jaffe, 1990.) vi • 11 Rubens, Gf'OI"Çlf:.> V.il.1ieY'':'',f f'ir_,t' [)t1"~.. > <'f U(lt;/\iT/qht:~TII, 1625, ail on canvas, Florence, Pitti Pél..lace. (Source: Cammell. ) 12 Van Dyck, SIr 0 v ( 1 r CI v Vil 1re y;,. aT/ li 1 H li Y 1\ Il t h c> y 11 / c> Nanners a.E Iidoni_" .'iwd V&flUS (datail). (Source: Jaffe, 1990. ) 13 Rubens, KatherIna i'tüne/".s~ [)l.lt::/w ....;. (,l'f [)u'_{,inyh,HIl, 1625, chalk, 36.8 x 26.5 cm., Vienna, Albertina. (Source: Jaffe, 1990.) 14 Van Dyck, r\iltherJru:.> Nclrlnl~/".',~ li/lehv3,," (lt UU'''TT/'llldTn, c.1633, ail on canvas, 74 x 57 cm., private collection. (Source: Jaffe, 1990.) 15 Van Dyck, SJ/" G(.><lr9<: VIll1!.>r_.:: dT/I) /<.Ady i'H~tll('r ZTU' Nanner_::: a:..::: 14donis and Ilenl.L" (detail). (Source: Jaffe, 1990. ) 16 Van Dyck, Th& CIlrd'lnenl,,,:e lIt" :~ClplP, 1620-21, oi] on canvas, 183 x 232 cm., Oxford, Christ Church. (Source: Apollo 138 [1993]) 17 Van Dyck, S€>11'--[lc>rtuut, 0.1635, etching, London, Bri tish Museum. (Source: Chr istopher Brown, V Grl Vy,_", • Oxford, 1982.) 18 Van Dyck, Rlnaldo iwd f.lnnid.3., 1628-29, cil on canVftS, 236.5 x 224 cm., Baltimore, Museum of Fine Arts. (Source: Wheelock.) 19 After Van Dyck, I1rmld<:i aT/,f tllv :-:lfl/:.>pinÇ/ A'lT/iiJ,-fO, 1627- 28, Los Angeles County Museum of Art. (Source: Rensselaer Lee, "Van Dyck, Tasso and the Antj que, " Studle3 in Ue~torn Art: I1ctJ vt thv fN&ntJeth lrlteYl/atlllTii.11 C<"Ti(/I'{>~':; o'f tha f/1.:-tnry ,)'t Ilrt., Princeton, 1963.) 20 Van Dyck, RlT/ald,) and ArmIda, 1632, panel, 57 x 41 cm., London, National Gallery. (Source: Brown.) 21 Titian, 8acred ar'ô f"rl1t"ane L(l~/e (detaiJ j, 1515-16, ail on canvas, 119 x 282 cm., Rome, Galleria BGrghese. (Source: Rosand.) 22 Titian, The 141)/"ÛllP \,It- Venus (detail), 1518, oil on canvas, 173 x 173 cm., Madrid, Prado (Source: Rosand.) 23 Van Dyck (after Titian), Mars and Venus, c. 1623-25, Italian sketchbook, folio 106r, London, British MUR~um. • (Source: Wheelock.) vii • 24 Roman, EndymJ (ln ~":lir·l:h(lpha~7u.:. (det.all), 3rd oent.ury A. D., Rome, Casino Rospigli'lsi. (Source' Lee. ) 25 Roman, Al ,job/" andH/l l4edd l ri 9 (detai 1), 1st. century A.D., Ro@e, Vatican Library. (Source: Lee.) 26 Veronese, The Rape ()f 1-::u./"opcJ, c. 1575, ail on canvas, 240 x 303 cm., Venice, Ducal Palace. (Source: Rosand.) 27 Honthorst, Apol.lo ..:mô Dra.r,..'}., 1628, oil on canvas, 357 x 640 cm., London, Hampton Court. (Source: Christopher White, "1111:' [}/.llçh !)jcfl.J1' (",_, 1.1/ t'h~:,' ColU.'(,('·ion of I-liU' 1'1.'ii.1/J3l y Thl~ r.lu&l.:'n, Cambridge, 1982.) 28 Honthorst, IIpollo .1nd [)lëWi.:i (detail). (Source: White.) 29 Honthorst, IIpollll ar/l.'/ l)ja7/d (detail). (Source: Whit,e.) • • 1 • INTRODUCTION The appointment in 1632 of Anthony Van Dyck (1599-1641) as Court Painter by King Charles l (b.1600; r.1625-1649) was a milestone in the lIves of bath men. It also ahanged the course of art in England. In spite of its importan8e, however, the mechanics of this event--the hows and whys of its occurence--are still imperfectly understood. This papor advances the suggestion that one factor in the King's choice of Van Dyck was the influence of George Villiers, first Duke of Buckingham (1592-1628), favorite and partner of two successive kings of England, James l and Charles l, father and son.1 • At first glance, this may seem odd: Buckingham was assassinated in 1628, four years before the official artistic appointment in question, and had had relatively little contact with Van Dyck during his lifetime (certainly much less than he had had through his various and complex nealings with Peter Paul Rubens, for example). But what contact there was between Buckingham and Van Dyck was meaningful, and anything meaningful for Buckingham loomed automatical1y so for Charles, such was the intensity of the 1 Villiers was the last of King James' young favorites.
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