(b. 1599, Antwerpen, d. 1641, London)
Sir Anthony van Dyck was a Flemish painter who was one of the most important and prolific portraitists of the 17th century. He is also considered to be one of the most brilliant colorists in the history of art.
Van Dyck was born on March 22, 1599, in Antwerp, son of a rich silk merchant, and his precocious artistic talent was already obvious at age 11, when he was apprenticed to the Flemish historical painter Hendrik van Balen. He was admitted to the Antwerp guild of painters in 1618, before his 19th birthday. He spent the next two years as a member of the workshop of the Flemish painter Peter Paul Rubens in Antwerp. Van Dyck's work during this period is in the lush, exuberant style of Rubens, and several paintings attributed to Rubens have since been ascribed to van Dyck.
From 1620 to 1627 van Dyck traveled in Italy, where he was in great demand as a portraitist and where he developed his maturing style. He toned down the Flemish robustness of his early work to concentrate on a more dignified, elegant manner. In his portraits of Italian aristocrats—men on prancing horses, ladies in black gowns—he created idealized figures with proud, erect stances, slender figures, and the famous expressive “van Dyck” hands. Influenced by the great Venetian painters Titian, Paolo Veronese, and Giovanni Bellini, he adopted colors of great richness and jewel-like purity. No other painter of the age surpassed van Dyck at portraying the shimmering whites of satin, the smooth blues of silk, or the rich crimsons of velvet. He was the quintessential painter of aristocracy, and was particularly successful in Genoa. There he showed himself capable of creating brilliantly accurate likenesses of his subjects, while he also developed a repertoire of portrait types that served him well in his later work at the court of Charles I of England.
Back in Antwerp from 1627 to 1632, van Dyck worked as a portraitist and a painter of church pictures. In 1632 he settled in London as chief court painter to King Charles I, who knighted him shortly after his arrival. Van Dyck painted most of the English aristocracy of the time, and his style became lighter and more luminous, with thinner paint and more sparkling highlights in gold and silver. At the same time, his portraits occasionally showed a certain hastiness or superficiality as he hurried to satisfy his flood of commissions. In 1635 van Dyck painted his masterpiece, Charles I in Hunting Dress (Louvre, Paris), a standing figure emphasizing the haughty grace of the monarch.
Van Dyck was one of the most influential 17th-century painters. He set a new style for Flemish art and founded the English school of painting; the portraitists Sir Joshua Reynolds and ThomasGainsborough of that school were his artistic heirs. He died in London on December 9, 1641.
Portrait of a Man in Armour with Red Scarf
Portrait of a Member of the Balbi Family
Portrait of Nicolaes van der Borght
सोमवार, 18 अक्तूबर 2010
DYCK, Sir Anthony van
- ► 2011 (25)
- मिटटी के रंग
- REMBRANDT Harmenszoon van Rijn
- SENIORITY LIST AS ON 01-07-2011-DRAWING & PAINTING...
- El Greco
- RUBENS, Pieter Pauwel
- Uchchhisht-Umarao Singh Jatav
- DYCK, Sir Anthony van
- DÜRER, Albrecht
- BELLINI, Giovanni
- Titian's-TIZIANO Vecellio
- Raphael (RAFFAELLO Sanzio)
- LEONARDO da Vinci
- MICHELANGELO Buonarroti
- ▼ October (13)
मेरे बारे में
- GHAZIABAD, Uttar Pradesh, India
- कला के उत्थान के लिए यह ब्लॉग समकालीन गतिविधियों के साथ,आज के दौर में जब समय की कमी को, इंटर नेट पर्याप्त तरीके से भाग्दौर से बचा देता है, यही सोच करके इस ब्लॉग पर काफी जानकारियाँ डाली जानी है जिससे कला विद्यार्थियों के साथ साथ कला प्रेमी और प्रशंसक इसका रसास्वादन कर सकें . - डॉ.लाल रत्नाकर Dr.Lal Ratnakar, Artist, Associate Professor /Head/ Department of Drg.& Ptg. MMH College Ghaziabad-201001 (CCS University Meerut) आज की भाग दौर की जिंदगी में कला कों जितने समय की आवश्यकता है संभवतः छात्र छात्राएं नहीं दे पा रहे हैं, शिक्षा प्रणाली और शिक्षा के साथ प्रयोग और विश्वविद्यालयों की निति भी इनके प्रयोगधर्मी बने रहने में बाधक होने में काफी महत्त्व निभा रहा है . अतः कला शिक्षा और उसके उन्नयन में इसका रोल कितना है इसका मूल्याङ्कन होने में गुरुजनों की सहभागिता भी कम महत्त्व नहीं रखती.