Van Dick
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Антонис ван Дейк — южнонидерландский живописец, рисовальщик и гравёр, мастер придворного портрета и религиозных …
Возраст: 22 мар. 1599 r. — 9 дек. 1641 r. (возраст: 42)
Дата смерти: 9 декабря 1641 (42 года)
Данные предоставлены: Wikipedia · Freebase
Текст из Википедии, лицензия CC-BY-SA
https://en.m.wikipedia.org/wiki/Anthony_van_Dyck
Education: Hendrick van Balen, Peter Paul …
Movement: Baroque
Nationality: Dutch
Known for: Painting
Education
Antoon van Dyck (his Flemish name) was born to prosperous parents in Antwerp. His father was Frans van Dyck, a silk merchant, and his mother was Maria Cupers, daughter of Dirk Cupers and Catharina Conincx. He was baptised on 23 March 1599 (as Anthonio). His talent was evident very early, and he was studying painting with Hendrick van Balenby 1609, and became an independent painter aro…
Education
Antoon van Dyck (his Flemish name) was born to prosperous parents in Antwerp. His father was Frans van Dyck, a silk merchant, and his mother was Maria Cupers, daughter of Dirk Cupers and Catharina Conincx. He was baptised on 23 March 1599 (as Anthonio). His talent was evident very early, and he was studying painting with Hendrick van Balen by 1609, and became an independent painter around 1615, setting up a workshop with his even younger friend Jan Brueghel the Younger. By the age of fifteen he was already a highly accomplished artist, as his Self-portrait, 1613–14, shows. He was admitted to the Antwerp painters' Guild of Saint Luke as a free master by February 1618. Within a few years he was to be the chief assistant to the dominant master of Antwerp, and the whole of Northern Europe, Peter Paul Rubens, who made much use of sub-contracted artists as well as his own large workshop. His influence on the young artist was immense. Rubens referred to the nineteen-year-old van Dyck as "the best of my pupils".
The origins and exact nature of their relationship are unclear. It has been speculated that van Dyck was a pupil of Rubens from about 1613, as even his early work shows little trace of van Balen's style, but there is no clear evidence for this. At the same time the dominance of Rubens in the relatively small and declining city of Antwerp probably explains why, despite his periodic returns to the city, van Dyck spent most of his career abroad. In 1620, in Rubens's contract for the major commission for the ceiling of the Carolus Borromeuskerk, the Jesuit church at Antwerp (lost to fire in 1718), van Dyck is specified as one of the "discipelen" who was to execute the paintings to Rubens' designs. Unlike van Dyck, Rubens worked for most of the courts of Europe, but avoided exclusive attachment to any of them.
Italy
In 1620, at the instigation of George Villiers, Marquess of Buckingham, van Dyck went to England for the first time where he worked for King James I of England, receiving £100. It was in London in the collection of the Earl of Arundel that he first saw the work of Titian, whose use of colour and subtle modeling of form would prove transformational, offering a new stylistic language that would enrich the compositional lessons learned from Rubens.
He returned to Flanders after about four months, and then left in late 1621 for Italy, where he remained for six years. There he studied the Italian masters while starting a successful career as a portraitist. He was already presenting himself as a figure of consequence, annoying the rather bohemian Northern artist's colony in Rome, says Giovan Pietro Bellori, by appearing with "the pomp of Zeuxis ... his behaviour was that of a nobleman rather than an ordinary person, and he shone in rich garments. Since he was accustomed in the circle of Rubens to noblemen, and being naturally of elevated mind, and anxious to make himself distinguished, he therefore wore—as well as silks—a hat with feathers and brooches, gold chains across his chest, and was accompanied by servants."
He was mostly based in Genoa, although he also travelled extensively to other cities, and stayed for some time in Palermo in Sicily, where he was quarantined during the 1624 plague, one of the worst in Sicily's history. There he produced an important series of paintings of the city's plague saint Saint Rosalia. His depictions of a young woman with flowing blonde hair wearing a Franciscan cowl and reaching down toward the city of Palermo in its peril, became the standard iconography of the saint from that time onward and was extremely influential for Italian Baroque painters, from Luca Giordano to Pietro Novelli. Versions include those in Madrid, Houston, London, New York and Palermo, as well as Saint Rosalia Interceding for the City of Palermo in Puerto Rico, and Coronation of Saint Rosalia in Vienna. Van Dyck's series of St Rosalia paintings have been studied by Gauvin Alexander Bailey and Xavier F. Salomon, both of whom curated or co-curated exhibitions devoted to the theme of Italian art and the plague. Recently the New York Times published an article about the Metropolitan Museum of Art's painting of Saint Rosalia by Van Dyck in the context of the COVID-19 virus.
For the Genoese aristocracy, then in a final flush of prosperity, he developed a full-length portrait style, drawing on Veronese and Titian as well as Rubens' style from his own period in Genoa, where extremely tall but graceful figures look down on the viewer with great hauteur. In 1627, he went back to Antwerp where he remained for five years, painting more affable portraits which still made his Flemish patrons look as stylish as possible. A life-size group portrait of twenty-four City Councillors of Brussels he painted for the council-chamber was destroyed in 1695. He was evidently very charming to his patrons, and, like Rubens, well able to mix in aristocratic and court circles, which added to his ability to obtain commissions. By 1630, he was described as the court painter of the Habsburg Governor of Flanders, the Archduchess Isabella. In this period he also produced many religious works, including large altarpieces, and began his printmaking.
London
King Charles I was the most passionate collector of art among the Stuart kings, and saw painting as a way of promoting his elevated view of the monarchy. In 1628, he bought the fabulous collection that the Duke of Mantua was forced to sell, and he had been trying since his accession in 1625 to bring leading foreign painters to England. In 1626, he was able to persuade Orazio Gentileschi to settle in England, later to be joined by his daughter Artemisia and some of his sons. Rubens was an especial target, who eventually in 1630 came on a diplomatic mission, which included painting, and he later sent Charles more paintings from Antwerp. Rubens was very well-treated during his nine-month visit, during which he was knighted. Charles's court portraitist, Daniel Mytens, was a somewhat pedestrian Dutchman. Charles was very short, less than 5 feet (1.5 m) tall, and presented challenges to a portrait artist.
Van Dyck remained in touch with the English court and helped King Charles's agents in their search for pictures. He sent some of his own works, including a self portrait (1623) with Endymion Porter, one of Charles's agents, his Rinaldo and Armida (1629), and a religious picture for the Queen. He had also painted Charles's sister, Queen Elizabeth of Bohemia, at The Hague in 1632. In April of that year, van Dyck returned to London and was taken under the wing of the court immediately, being knighted in July and at the same time receiving a pension of £200 a year, in the grant of which he was described as principalle Paynter in ordinary to their majesties. He was well paid for his paintings in addition to this, at least in theory, as King Charles did not actually pay over his pension for five years, and reduced the price of many paintings. He was provided with a house on the River Thames at Blackfriars, then just outside the City of London, thus avoiding the monopoly of the Worshipful Company of Painter-Stainers. A suite of rooms in Eltham Palace, no longer used by the royal family, was also put at his disposal as a country retreat. His Blackfriars studio was frequently visited by the King and Queen (later a special causeway was built to ease their access), who hardly sat for another painter while van Dyck lived.
He was an immediate success in England, where he painting large numbers of portraits of the King and Queen Henrietta Maria, as well as their children. Many portraits were done in several versions, to be sent as diplomatic gifts or given to supporters of the increasingly embattled king. Altogether van Dyck has been estimated to have painted forty portraits of King Charles himself, as well as about thirty of the Queen, nine of the Earl of Strafford, and multiple ones of other courtiers. He painted many of the court, and also himself and his mistress, Margaret Lemon.
In England he developed a version of his style which combined a relaxed elegance and ease with an understated authority in his subjects which was to dominate English portrait-painting to the end of the 18th century. Many of these portraits have a lush landscape background. His portraits of Charles on horseback updated the grandeur of Titian's Emperor Charles V, but even more effective and original is his portrait of Charles dismounted in the Louvre: "Charles is given a totally natural look of instinctive sovereignty, in a deliberately informal setting where he strolls so negligently that he seems at first glance nature's gentleman rather than England's King". Although his portraits have created the classic idea of "Cavalier" style and dress, in fact a majority of his most important patrons in the nobility, such as Lord Wharton and the Earls of Bedford, Northumberland and Pembroke, took the Parliamentarian side in the English Civil War that broke out soon after his death.
The King in Council by letters patent granted van Dyck denizenship in 1638, and he married Mary Ruthven, with whom he had one daughter. Mary was the daughter of Patrick Ruthven, who, although the title was forfeited, styled himself Lord Ruthven. She was a Lady-in-waiting to the Queen in 1639–40; this may have been instigated by the King in an attempt to keep him in England. He had spent most of 1634 in Antwerp, returning the following year, and in 1640–41, as the Civil War loomed, spent several months in Flanders and France. In 1640 he accompanied prince John Casimir of Poland after he was freed from French imprisonment.
A letter dated 13 August 1641, from Lady Roxburghe in England to a correspondent in The Hague, reported that van Dyck was recuperating from a long illness. In November, van Dyck's condition worsened, and he returned to England from Paris, where he had gone to paint Cardinal Richelieu. He died in London on 9 December 1641. There was a memorial to him within the Old St Paul's Cathedral.
https://ru.wikipedia.org/wiki/Ван_Дейк,_Дик
Гражданство: Нидерланды
Родился: 15 февраля 1946, Гауда, …
Умер: 8 июля 1997 (51 год), Ницца, Франция
Полное имя: Дирк Ваутер Йоханнес ван Дейк
https://www.nationalgallery.org.uk/artists/anthony-van-dyck
Van Dyck was the most important Flemish painter of the 17th century after Rubens, whose works influenced the young Van Dyck. He also studied and was profoundly influenced by the work of Italian artists, above all, Titia…
https://m.youtube.com/watch?v=rfMVd__dkOM
Перевести · 26.01.2015 · An introduction to Sir Anthony van Dyck by Catharine MacLeod, …
Anthony van Dyck: A collection of 449 paintings (HD)
The Dick Van Dyke Show S05E18 Season five episode eighteen
The Dick Van Dyke Show Full Episodes S05E19 The Bottom Of Mel Cooley's Heart
The Dick Van Dyke Show S05E24 Talk To The Snail
The Dick Van Dyke Show S04E12 The Death of the Party
https://www.kinopoisk.ru/name/128725
Дик Ван Дайк (Dick Van Dyke). Фильмография, фото, интересные факты из жизни и многое другое на …
https://www.wikiart.org/en/anthony-van-dyck
Перевести · Sir Anthony van Dyck (Dutch pronunciation: [vɑn ˈdɛi̯k], many variant spellings; 22 March 1599 – …
https://en.m.wikipedia.org/wiki/Dick_Van_Dyke
Overview
Early life
Military service
Career
Personal life
Richard Wayne Van Dyke is an American actor, comedian, writer, singer, and dancer, whose award-winning career has spanned seven decades. Van Dyke first gained recognition on radio and Broadway, then became known for his role as Rob Petrie on the CBS television sitcom The Dick Van Dyke Show, which ran from 1961 to 1966. He also gained significan…
https://www.minotti.com/en/van-dyck
Перевести · VAN DYCK - TABLES EN First-rate materials and a contemporary flavour… This is Van Dyck, the table/sculpture designed by Rodolfo Dordoni. A one-of …
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РекламаБолее 100 000 принтов. Отличное качество. Доставка по РФ от 24 ч. Закажите онлайн! · Москва · круглосуточно
Доставка по РФ и СНГ · 100% качество
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Показывать только результаты для Van Dick?
Антонис ван Дейк — южнонидерландский живописец, рисовальщик и гравёр, мастер придворного портрета и религиозных …
Возраст: 22 мар. 1599 r. — 9 дек. 1641 r. (возраст: 42)
Дата смерти: 9 декабря 1641 (42 года)
Данные предоставлены: Wikipedia · Freebase
Текст из Википедии, лицензия CC-BY-SA
https://en.m.wikipedia.org/wiki/Anthony_van_Dyck
Education: Hendrick van Balen, Peter Paul …
Movement: Baroque
Nationality: Dutch
Known for: Painting
Education
Antoon van Dyck (his Flemish name) was born to prosperous parents in Antwerp. His father was Frans van Dyck, a silk merchant, and his mother was Maria Cupers, daughter of Dirk Cupers and Catharina Conincx. He was baptised on 23 March 1599 (as Anthonio). His talent was evident very early, and he was studying painting with Hendrick van Balenby 1609, and became an independent painter aro…
Education
Antoon van Dyck (his Flemish name) was born to prosperous parents in Antwerp. His father was Frans van Dyck, a silk merchant, and his mother was Maria Cupers, daughter of Dirk Cupers and Catharina Conincx. He was baptised on 23 March 1599 (as Anthonio). His talent was evident very early, and he was studying painting with Hendrick van Balen by 1609, and became an independent painter around 1615, setting up a workshop with his even younger friend Jan Brueghel the Younger. By the age of fifteen he was already a highly accomplished artist, as his Self-portrait, 1613–14, shows. He was admitted to the Antwerp painters' Guild of Saint Luke as a free master by February 1618. Within a few years he was to be the chief assistant to the dominant master of Antwerp, and the whole of Northern Europe, Peter Paul Rubens, who made much use of sub-contracted artists as well as his own large workshop. His influence on the young artist was immense. Rubens referred to the nineteen-year-old van Dyck as "the best of my pupils".
The origins and exact nature of their relationship are unclear. It has been speculated that van Dyck was a pupil of Rubens from about 1613, as even his early work shows little trace of van Balen's style, but there is no clear evidence for this. At the same time the dominance of Rubens in the relatively small and declining city of Antwerp probably explains why, despite his periodic returns to the city, van Dyck spent most of his career abroad. In 1620, in Rubens's contract for the major commission for the ceiling of the Carolus Borromeuskerk, the Jesuit church at Antwerp (lost to fire in 1718), van Dyck is specified as one of the "discipelen" who was to execute the paintings to Rubens' designs. Unlike van Dyck, Rubens worked for most of the courts of Europe, but avoided exclusive attachment to any of them.
Italy
In 1620, at the instigation of George Villiers, Marquess of Buckingham, van Dyck went to England for the first time where he worked for King James I of England, receiving £100. It was in London in the collection of the Earl of Arundel that he first saw the work of Titian, whose use of colour and subtle modeling of form would prove transformational, offering a new stylistic language that would enrich the compositional lessons learned from Rubens.
He returned to Flanders after about four months, and then left in late 1621 for Italy, where he remained for six years. There he studied the Italian masters while starting a successful career as a portraitist. He was already presenting himself as a figure of consequence, annoying the rather bohemian Northern artist's colony in Rome, says Giovan Pietro Bellori, by appearing with "the pomp of Zeuxis ... his behaviour was that of a nobleman rather than an ordinary person, and he shone in rich garments. Since he was accustomed in the circle of Rubens to noblemen, and being naturally of elevated mind, and anxious to make himself distinguished, he therefore wore—as well as silks—a hat with feathers and brooches, gold chains across his chest, and was accompanied by servants."
He was mostly based in Genoa, although he also travelled extensively to other cities, and stayed for some time in Palermo in Sicily, where he was quarantined during the 1624 plague, one of the worst in Sicily's history. There he produced an important series of paintings of the city's plague saint Saint Rosalia. His depictions of a young woman with flowing blonde hair wearing a Franciscan cowl and reaching down toward the city of Palermo in its peril, became the standard iconography of the saint from that time onward and was extremely influential for Italian Baroque painters, from Luca Giordano to Pietro Novelli. Versions include those in Madrid, Houston, London, New York and Palermo, as well as Saint Rosalia Interceding for the City of Palermo in Puerto Rico, and Coronation of Saint Rosalia in Vienna. Van Dyck's series of St Rosalia paintings have been studied by Gauvin Alexander Bailey and Xavier F. Salomon, both of whom curated or co-curated exhibitions devoted to the theme of Italian art and the plague. Recently the New York Times published an article about the Metropolitan Museum of Art's painting of Saint Rosalia by Van Dyck in the context of the COVID-19 virus.
For the Genoese aristocracy, then in a final flush of prosperity, he developed a full-length portrait style, drawing on Veronese and Titian as well as Rubens' style fr
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Anthony van Dyck - Wikipedia
Ван Дейк, Дик — Википедия
Anthony van Dyck (1599 - 1641) | National Gallery, London
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Van Dick
