Style of Anthony van Dyck, 'Portrait of a Woman', after 1635
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In his first letter to the Corinthians, Saint Paul outlines the importance of faith, hope and charity, naming charity as the greatest of the three. At the time this picture was painted, charity meant combining the love of god with love of one’s neighbour.From the sixteenth century onward, charity...
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A man sits on a muscular horse, towering above a servant who passes him a helmet to complete his suit of armour. A Latin inscription on the tablet hanging from a tree identifies him as ‘King of Great Britain’ – this is Charles I, surveying his kingdom. Anthony van Dyck painted several portraits o...
Anthony van Dyck was largely responsible for introducing the double or ‘friendship’ portrait to Britain. The informal composition of this painting as well as the quantities of shimmering silk on display perfectly illustrate the appeal of Van Dyck’s new style to aristocratic British patrons eager...
This life-size double portrait shows the youngest sons of the 3rd Duke of Lennox: Lord John Stuart, on the left, with his brother Lord Bernard Stuart. They were only about 17 and 18 but they ooze aristocratic superiority and are dressed in extravagant fashion.Van Dyck’s ability to evoke the textu...
The glorious colours in this portrait are equalled by the delicacy and sensitivity with which Van Dyck has captured an intimate moment between us and an unknown woman and her little boy. She wears the formal clothing of an affluent bourgeois wife: a black silk dress with an elaborate gold stomach...
Cornelis van der Geest was one of the most prominent art collectors of his day, so this commission must have been extremely important to Anthony van Dyck, who was only 21 at the time.He has taken a relatively conservative approach, using a traditional format: a close up of just the sitter’s face,...
Not on display
In this lively, informal portrait, Anthony van Dyck presents to us someone he had known for several years and whose company he clearly enjoyed. François Langlois was an engraver, art dealer and publisher who lived in Italy in the 1620s, which is where he must have met Van Dyck. Langlois was also...
Not on display
Anthony van Dyck spent much of his twenties (1621–27) in Italy and in particular Genoa, where wealthy aristocratic merchants were keen to have themselves portrayed in a flattering and engaging manner. Many were full-length portraits of graceful figures who were clearly aware of their status. This...
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The central figure in this work is George Gage (about 1582–1638), an English Catholic, art dealer and political agent in the 1620s, acting for King James I and then Charles I. Both he and Van Dyck lived together in the same house in Rome in 1621 and 1622, and it is highly likely that the painting...
The dark red curtain in the background gives a warm, luxurious atmosphere to this portrait and complements the sitter’s auburn hair and sparkling brown eyes. The rose – traditionally a nuptial flower – tucked over her ear accentuates her beauty and might suggest that this engaging young woman is...
Not on display
The Abbé Scaglia (1592–1641), whose full name was Cesare Alessandro Scaglia di Verrua, was a cleric and diplomat well known in Rome, Madrid, London and Paris for his service to the House of Savoy and Philip IV of Spain. Scaglia was also an art collector of renown who knew, among others, Rubens, V...
The enchantress Armida and her bewitched lover, Rinaldo, a Christian knight, recline in a beautiful landscape, surrounded by attendant cupids. The scene shows a tender moment between the couple before Rinaldo’s comrades, whose helmets are visible behind the bush on the left, disturb their idyll a...
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In this painting, Saint Ambrose (about 340–398), Bishop of Milan, stops the Emperor Theodosius (about 346–395) and his retinue from entering the city’s cathedral. This was a punishment for Theodosius‘ massacre of the people of Thessalonica, who had murdered his general, Butheric.This story was re...
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Abbé Scaglia (1592–1641), cleric, diplomat, spy and one of Van Dyck’s most important patrons, commissioned this painting while suffering from ill health and in a reflective state of mind. It was meant for the church of the Recollect order of Augustinians in Antwerp; within a few years Scaglia wou...
Three dashing young boys stand on the steps of an impressive building. They were long believed to represent the Balbi children because the painting was once in the collection of the wealthy Balbi family in Genoa. But new research suggests these boys belonged to another prominent Genoese family;...
William Feilding, 1st Earl of Denbigh steps forward, gun in hand. He is shown life-size. We look up at him from below, which emphasises his commanding pose, but the elegance and urbanity usually present in Anthony van Dyck’s formal portraits seems to be missing. This is partly because of the Earl...
Possibly by Anthony van Dyck
This uproarious crowd of mythical characters is noisy and ill-behaved, but meant to make you smile. The old man who has lost his clothes in the revels is Silenus – in Roman myth, the teacher and mentor of Bacchus, the god of wine. In the seventeenth century, the Roman myths were popular as subjec...
Not on display
Studio of Anthony van Dyck
Prince Charles Louis, Count Palatine, was the second son of Frederick V, Elector Palatine and briefly King of Bohemia. His elder brother Henry had died young, and although Charles Louis was now heir to the Palatinate, his father had been deposed and the family were living in exile in the Netherla...
Studio of Anthony van Dyck
Elegant and full of self-confidence, the young Prince Rupert stands every inch a member of the royal Stuart dynasty. Known as Rupert of the Rhine, he bears a striking resemblance to his cousin the Prince of Wales, later Charles II. The portrait is designed to place us at his feet, and yet he look...
Style of Anthony van Dyck
Two young men in fashionable clothing look into the distance as they lean against a plinth. This double portrait has traditionally been considered to be by Anthony van Dyck, but this is now doubted. Though it reflects the style of the artist in the 1630s, it could have been painted by a follower...
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Style of Anthony van Dyck
Two horses run wild across a flat, earthy plain against a cloudy sunset. These are Xanthus and Balius, the immortal horses of the Greek hero Achilles. They were the offspring of Zephyrus, the god of the west wind, who may be personified by the winged head which is about to expel a mouthful of air...
Not on display
After Anthony van Dyck
This is a small, grisaille (painted in shades of black, white and grey) copy done by an unknown artist after a portrait by the Flemish painter Anthony van Dyck. It shows Robert Rich, 2nd Earl of Warwick (1587–1658), a courtier of King Charles I who opposed many of the King’s political and religio...
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After Anthony van Dyck
A young man looks out at the viewer with a piercing gaze and provocative expression. With an elegant hand gesture he points towards his chest, alluding to the fact this image is in fact a self portrait. His lips are parted, as if he is about to introduce himself – this is the Flemish painter Anth...
Not on display
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