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In short
The Anthonis van Dyck painting most people know is Charles I u Tri Pozicije (1636), and you can see it at the Royal Collection, London. Right after it come Family Portrait (1621) and Portrait of Isabella Clara Eugenia as Widow (1628). Out of 1,620 works by Anthonis van Dyck in our catalogue, these 100 are the best known. Each one comes with its year, its museum and a short note on what makes it stand out.
"Charles I u tri pozicije" predstavlja izvanredni primjer majstorstva Sir Anthonyja van Dycka u barokskoj umjetnosti portretiranja. Naslikano između 1635. i 1636. godine, ovo remek-djelo na platnu uljanim bojama prikazuje iznimnu vještinu flamanskog umjetnika i njegov duboki utjecaj na europsku umjetnost. Slika je dio prestižne Kraljevske kolekcije i trenutno se nalazi u Velikom kraljevskom dnevnom prostoru u Windsor Castlu.
To gaze upon this magnificent family portrait is to step directly into the opulent drawing rooms of the early seventeenth century. It captures not merely three figures—a distinguished man, an elegant woman, and a cherished child—but an entire tableau of familial pride and societal standing. The composition itself speaks volumes; every fold of fabric, every carefully placed hand, contributes to a narrative of enduring connection. The rich, dramatic red background…
Sir Anthony van Dyck’s “Portrait of Isabella Clara Eugenia as Widow” is more than just a depiction of a noblewoman; it's a carefully constructed tableau of power, grief, and the enduring legacy of a formidable ruler. Painted in 1628, this oil-on-canvas work transports us to the heart of the Spanish Netherlands during a period of significant political and personal upheaval. Isabella Clara Eugenia, daughter of Philip II of Spain, served…
The portrait of Jacqueline van Caestre, painted in 1622 by the masterful Sir Anthony van Dyck, is more than a mere likeness; it’s a carefully constructed tableau of wealth, status, and burgeoning domesticity. Within its richly layered composition lies a captivating story of a noblewoman navigating the complexities of marriage and courtly life in 17th-century Antwerp. Van Dyck, already establishing his signature style—characterized by an almost sensual realism and a…
Barokni Majstor: Susanna i Stariji Muškarci po Anthonyju van Dycku Sir Anthony van Dyckov „Susanna i Stariji Muškarci“ nadilazi čisto portretiranje; on oličari vladaštvo i intelektualnu žar u dušu barokne ere, čime je cementirao svoje mjesto među najslavljenijim dostignućima Van Dycka. Ovaj monumentalni platno, naslikano 1622. godine, dimenzija 194 x 144 cm, trenutno se nalazi u muzeju Alte Pinakothek u Minhenu, Njemačka, nudeći posjetiteljima rijetok pogled na umjetničke osjećaje flamičkog…
Anthony van Dyck's "Genoese Noblewoman," painted circa 1625-1627, isn’t merely a portrait; it’s a meticulously crafted window into the opulent world of early 17th-century Genoa. This captivating work, now residing within The Frick Collection in New York City, offers a rare glimpse into the refined tastes and social dynamics of a wealthy Italian city-state – a vibrant hub of commerce, art, and cultural exchange during a period of immense artistic…
The gaze of Henrietta Maria meets the viewer through this commanding portrait by Anthony van Dyck. Executed in 1636, the work captures Henrietta Maria of France in a moment of poised royal dignity. She exists here as the Queen of England, a position she holds through her marriage to King Charles I. The painting functions as a visual declaration of her status and her presence within the English court.
To stand before this portrait is to encounter the quiet gravity of the seventeenth-century English court. The Queen stands slightly off-center, her figure anchored by the heavy weight of crimson drapery and a draped table. There is a certain stillness here, a moment caught between the political tensions of 1638 and the personal dignity of the sitter. Van Dyck uses light to sculpt her form, pulling her face and chest…
In this oil painting, titled The healing of the paralytic, Anthony van Dyck explores a moment of profound spiritual intervention. The work, which dates to about 1618-20, captures the immediate aftermath of a miracle. We find ourselves witnessing the precise instant of transition between infirmity and restoration. The subject matter is drawn from the New Testament, specifically the narratives found in Matthew 9:1-8 or John 5:1-15.
A dignified three-quarter length portrait, this work captures a middle-aged man positioned centrally against a dark, atmospheric background. The subject, Alexandre della Faille, is rendered with a sense of quiet authority and formal composure. A voluminous white ruff collar acts as the primary focal point, its crisp texture contrasting sharply against the heavy, dark fabric of his cloak. Light enters from the upper left, casting soft shadows across the right…
Equestrian Portrait of Charles I of England1620 · Bavarske državne slikopisne zbirke
12
The Pietà1629 · Muzej Prado
13
Portrait of Charles Louis, Elector Palatine (1617-1680), in exile1637
14
Portrait of Charles, Marquis de Vieuville1635 · Chrysler Museum of Art
15
Portrait of Charles I, King of the Great Britain (1600-1649)1638 · Ermitaž
16
The Lomellini Family1627
17
Queen Henrietta Maria1640 · Wallace Collection
18
Portrait of Henrietta Maria of France, Queen of England, Scotland and Ireland1637
19
Moses and the Brazen Serpent1530
20
Christ on the Cross1625 · Courtauld Gallery
21
Portrait of Queen Henriëtta Maria1632
22
Portrait of a Family1620
23
Thomas Hamilton, 2nd Earl of Haddington, 1600 - 16401637 · Skotska nacionalna galerija portreta
24
Samson and Delilah1630 · Kunsthistorisches Museum
25
Portrait of a Lady with her Daughter1632
26
Charles I (1600-49) on Horseback1635 · Hampton Court Palace
27
Cupid and Psyche1640 · Royal Collection
28
Queen Henrietta Maria of England1620 · Bavarske državne slikopisne zbirke
29
A Family Group1634 · Detroit Institute of Arts
30
Queen Henrietta Maria of England1639 · Statens Museum For Kunst
31
Saint Sebastian and the Angel1631 · Galleria Sabauda
32
Portrait of a painter1640 · Kunstmuseum Basel
33
Queen Henrietta Maria1635 · Staatliche KunstSammlungen Dresden
34
Christ on the Cross with Saint Catherine of Siena, Saint Dominic and an Angel1620 · Kraljevski muzej fine umjetnosti u Antverpenu
35
St Jerome1620 · Nationalmuseum
36
Venetia, Lady Digby1634
37
Christ and the Penitent Magdalene1620 · Bavarske državne slikopisne zbirke
38
Crucifixion1622 · San Zaccaria
39
Portrait Of Frederik Hendrik1632 · Baltimore Museum of Art
40
Ottaviano Canevari1627 · The Frick Collection
41
Lamentation of Christ1620 · Bavarske državne slikopisne zbirke
42
Portrait of an English Gentleman1635 · Palača Pitti
43
Portrait of James Hay, 2nd Earl of Carlisle (c1612-1660)1636
44
Saint Sebastian1620 · Bavarske državne slikopisne zbirke
45
The Martyrdom of Saint Sebastian1616 · Bavarske državne slikopisne zbirke
46
Sir Algernon Percy (1602–1668), 10th Earl of Northumberland, KG, His First Wife Lady Anne Cecil (d.1637), and Their Eldest Daughter, Lady Catherine Percy (1630–1638)1635
47
Sir Kenelm Digby1640 · National Portrait Gallery
48
Lord John Stuart and his Brother, Lord Bernard Stuart1638
49
Portrait of an Old Man1618 · Liechtenstein Museum
50
Portrait of a Man1922 · Bavarske državne slikopisne zbirke
51
Charles I in Three Positions1636 · Royal Collection
52
Portrait of Nicolaes van der Borght1620
53
Portrait of a Genovese Gentleman1621 · Gemäldegalerie
54
James Stuart (1612–1655), 1st Duke of Richmond and 4th Duke of Lennox1636 · English Heritage
55
Mountjoy Blount (1597–1665), 1st Earl of Newport George (1608–1657), Lord Goring, and a Page1639 · Petworth House
56
The Martyrdom of Saint Sebastian1620 · Bavarske državne slikopisne zbirke
57
Rest on the Flight into Egypt (Madonna with Partridges)1632 · Ermitaž
58
Portrait of a Man1618 · Liechtenstein Museum
59
Marie de Raet1631 · Wallace Collection
60
Mozes and the brass snake1620
61
Portrait of Prince Charles Louis, Elector Palatine1641
62
Charles Seton (1615–1672), 2nd Earl of Dunfermline, Lord Privy Seal1640
63
The Virgin and Child1631 · Buckingham Palace
64
Lord George Stuart1638 · National Portrait Gallery
65
Portrait of Wolfgang William of Palatine-Neuburg1630 · Kunsthalle Bremen
66
Queen Henrietta Maria1760 · Birmingham Museum and Art Gallery
67
Portrait of Emmanuel Philibert1624
68
Portrait of Charles V on Horseback1620 · Galleria degli Uffizi
69
The Polish Rider1620 · Bavarske državne slikopisne zbirke
70
Charles I and the Knights of the Garter in Procession1638 · Muzej Ashmolean za umjetnost i arheologiju
71
Christus als Salvator Mundi1620 · Slika Sanssouci galerija
72
Charles I (1600–1649)1639 · National Trust
73
Kraljica Henrietta Maria1636 · Metropolitan Museum of Art
74
Lady Dacre1633 · Denver Art Museum
75
Francis Junius (1591–1677)1640 · Bodleian Libraries
76
Charles i - (16)
77
Deux têtes d1650 · Museum of Fine Arts
78
Princess Henrietta of Lorraine (1611–1660), Attended by a Page1634 · English Heritage
79
Portrait of Father Jean-Charles della Faille, S.J.1629
80
Equestrian Portrait of Charles I, King of England1640
81
François Langlois (1589–1647)1637 · The Barber Institute of Fine Arts
82
Portrait of Charles I, King of England1640 · USC Fisher Museum of Art
83
Christ carrying the CrossMusei di Strada Nuova
84
Portrait of the Painter Cornelis de Wae1627 · Koninklijk Museum voor Schone Kunsten
85
Ecce Homo1626 · The Barber Institute of Fine Arts
86
Margareta Snyders1620
87
Margareta de Vos1620 · The Frick Collection
88
Portrait of Anna Dalkeith, Countess of Morton, and Lady Anna Kirk1631 · Ermitaž
89
Portrait Of Philip, Lord Wharton1630
90
Portrait of a Man1618 · Liechtenstein Museum
91
Portrait of Henrietta Maria (1609–1699), Queen of EnglandNarodni muzej u Varšavi
92
Portrait of James Hamilton1630 · Liechtenstein Museum
93
Charles I on Horseback1635 · National Gallery
94
Thomas Killigrew and (.) William, Lord Croft1638 · Royal Collection
95
Alexander Henderson (c.1583–1646), Presbyterian Divine and Diplomatist1641 · Skotska nacionalna galerija portreta
96
The Lomellini Family1626 · Nacionalna galerija Škotske
97
Samson i Delila1620
98
Abraham and Isaac1617 · Národní Galerie
99
Portrait of Anna van Craesbecke1635 · Državni muzeji Kassel
100
A wooded ridge1630 · Art Gallery of South Australia
#46 Sir Algernon Percy (1602–1668), 10th Earl of Northumberland, KG, His First Wife Lady Anne Cecil (d.1637), and Their Eldest Daughter, Lady Catherine Percy (1630–1638)
#47 Sir Kenelm Digby
#48 Lord John Stuart and his Brother, Lord Bernard Stuart
#62 Charles Seton (1615–1672), 2nd Earl of Dunfermline, Lord Privy Seal
#64 Lord George Stuart
The four subjects that come up most often in these pieces, each with its best-known example.
8 muzeja u kojima se nalazi najviše djela s ove stranice.
| Muzej | Grad | Djela autora Anthonis van Dyck | Slike iz ovog popisa |
|---|---|---|---|
 Bavarske državne slikopisne zbirke |
München | 57 | The healing of the paralytic, Equestrian Portrait of Charles I of England, Queen Henrietta Maria of England |
 Ermitaž |
Sankt Peterburg | 25 | Family Portrait, Portrait of Queen Henrietta-Maria, Portrait of Charles I, King of the Great Britain (1600-1649) |
 Royal Collection |
London | 29 | Charles I u Tri Pozicije, Cupid and Psyche, Charles I in Three Positions |
 Liechtenstein Museum |
Beč | 23 | Portrait of an Old Man, Portrait of a Man, Portrait of a Man |
 The Frick Collection |
New York City | 8 | Genoese Noblewoman, Ottaviano Canevari, Margareta de Vos |
 Wallace Collection |
London | 9 | Queen Henrietta Maria, Marie de Raet |
 National Portrait Gallery |
London | 6 | Sir Kenelm Digby, Lord George Stuart |
 Skotska nacionalna galerija portreta |
Edinburgh | 5 | Thomas Hamilton, 2nd Earl of Haddington, 1600 - 1640, Alexander Henderson (c.1583–1646), Presbyterian Divine and Diplomatist |
Pick a decade to see its standout piece.
The Martyrdom of Saint Sebastian emerges from the shadows of the Baroque era, a religious work that captures a moment of profound transition. In this painting by Sir Anthony van Dyck, the saint faces his ordeal with a heavy, palpable presence. The scene focuses intensely on the physical and spiritual suffering of the saint, as he endures the arrows of his execution. Every element of the composition points toward this…
To gaze upon this magnificent family portrait is to step directly into the opulent drawing rooms of the early seventeenth century. It captures not merely three figures—a distinguished man, an elegant woman, and a cherished child—but an entire tableau of familial pride and societal standing. The composition itself speaks volumes; every fold of fabric, every carefully placed hand, contributes to a narrative of enduring connection. The rich, dramatic red background…
"Charles I u tri pozicije" predstavlja izvanredni primjer majstorstva Sir Anthonyja van Dycka u barokskoj umjetnosti portretiranja. Naslikano između 1635. i 1636. godine, ovo remek-djelo na platnu uljanim bojama prikazuje iznimnu vještinu flamanskog umjetnika i njegov duboki utjecaj na europsku umjetnost. Slika je dio prestižne Kraljevske kolekcije i trenutno se nalazi u Velikom kraljevskom dnevnom prostoru u Windsor Castlu.
The Queen sits in a moment of quiet poise, her figure angled slightly away from the viewer to create a sense of graceful movement. She is draped in a gown of deep teal and cerulean blue, a fabric so heavy and lustrous that the light seems to pool within its folds. Every sweep of the silk catches a highlight, contrasting sharply against the dark, atmospheric shadows that swallow the background.…
Top of the list is Charles I u Tri Pozicije (1636), Royal Collection, London. Right behind it: Family Portrait (1621) and Portrait of Isabella Clara Eugenia as Widow (1628).
37 years old. Anthonis van Dyck was born in 1599, and Charles I u Tri Pozicije dates from 1636.
Charles I u Tri Pozicije, Family Portrait, Portrait of Isabella Clara Eugenia as Widow, Jacqueline van Caestre, Susana i Stari, Genoese Noblewoman, Henrietta Maria, Portrait of Queen Henrietta-Maria, The healing of the paralytic i Portrait of Alexandre della Faille (1589-1653). You'll find the year and the museum of each in the list above.
We have 1,620 works by Anthonis van Dyck in our catalogue, dated 1616 to 1641.
You'll find most of them in Bavarske državne slikopisne zbirke (München), Ermitaž (Sankt Peterburg) i Royal Collection (London). The museum list above has the full breakdown.
In 1630s, more than any other time: 44 of the 100 pieces on this page date from then, Charles I u Tri Pozicije among them.
The earliest piece here is The Martyrdom of Saint Sebastian (1616); the most recent is Portrait of Prince Charles Louis, Elector Palatine (1641).
Man (22), Portraiture (20) i Portrait (17), out of the 100 pieces on this page.
Oil On Canvas, used in 75 of the 100 pieces on this page.
Barokni stil, as you can see in the pieces on this page.
You can see 10 of the pieces on this page at the Bavarske državne slikopisne zbirke, München, including The healing of the paralytic, Equestrian Portrait of Charles I of England i Queen Henrietta Maria of England.
Yes. Every painting on this page is available as a hand-painted oil reproduction or a print, in the size that suits you. Just open the painting's page to order.
Rođen u Antverpenu 22. ožujka 1599. godine, Sir Anthony Van Dyck ušao je u svijet trgovine i zanata. Bio je sedmo od dvanaestoroje djece rođene iz Marije Cupers i Francoïsa "Fransa" van Dijcka, trgovca svile. Takav odgoj u blagom, prosperošnom kućanstvu pružio je stabilnu podlogu djetetu koje je pokazivalo rano, iznimno darovitost za vizualne umjetnosti. Već sa deset godina započeo je svoje formalno obrazovanje u slikarstvu pod vodstvom Hendricka van Balena starijeg.
Njegov razvoj obilježen je brzim usponom kroz tradicionalne strukture flamenskog umjetničkog svijeta. Nije dugo ostao u statusu običnog učenika; njegova tehnička vještina omogućila mu je da s iznimnom brzinom teži samostalnosti. Do 18. listopada 1617. godine postigao je značajnu prekretnicu – primijenjen je u Antverpsku gildiju svetog Luke kao slobodni majstor. Ovo rano profesionalno priznanje signaliziralo je dolazak talenta koji će vrlo brzo nadmašiti granice njegovog rodnog grada.
Kretnja Sir Anthony Van Dyckove karijere temeljito je oblikovana njegovim boravkom u radionici koju je vodio Peter Paul Rubens. To nije bilo puka učenje zanata; mladi umjetnik uspio je izroniti u ulogu glavnog asistenta majstora, poziciju koja zahtijevala istovremeno i tehničku preciznost i sposobnost apsorbiranja složenog vizualnog jezika. Sam Rubens prepoznao je iznimni talent svog protežéja, opisujući mladca kao najboljeg od svojih učenika. Ovo mentorstvo pružilo je Sir Anthony Van Dycku izravnu poveznicu s vodećim umjetničkim strujama siedamnaestog stoljeća, omogućujući mu da izravno svjedoči procesu stvaranja monumentalnih kompozicija i upravljanju iznimno plodnom radionicom.
Rubensov utjecaj na mladog umjetnika manifestirao se kroz zajednički fokus na ekspresiju, gestu i formu. Iako će Sir Anthony Van Dyck s vremenom razviti profinjeniji i umjereniji stil, njegove su rane godine obilježile pokušaji oponašanja energije i oštrine zapažanja svog mentora. Naučio je prevoditi vitalnost života u ulje i pigment, vještinu koja će mu kasnije omogućiti da nadilazi snažnu energiju Rubensova stila i usmjerava se prema nečem suptilnijem. Tehničke temelje postavljene u toj radionici pružili su mu neophodne alate za njegov kasniji uspon na kraljevske dvore Europe.
Sve u svojim kasnim tinejdžerskim godinama, Sir Anthony Van Dyck već je ostvario uspjeh kao samostalni slikar, postignuće koje je pružilo neophodan zamah za njegov odlazak iz Niskih zemalja. Između 1621. i kasnih 1627. godine, putovao je kroz Italiju, razdoblje koje će izoštriti njegovu sposobnost navigacije kroz složene društvene hijerarhije europske plemićke elite. To razdoblje putovanja nije bilo puka lutala, već strateško uranjanje u vizualni jezik mediteranske aristokracije.
Njegov boravak u Genovi pokazao se posebno značajnim. Tamo je pronašao stalne klijente među genovenskim patricijatima, čija su aristokratska osjećanja bila u skladu s njegovim razvojnim stilom. Njegove interpretacije ovih lokalnih obitelji primićene su s velikim naklonostima u gradu, čime je utvrdio svoj položaj kao umjetnik sposoban uhvatiti specifičnu dostojanstvenost koju je zahtijevalo visoko društvo. U tim portretima, on je otišao daleko izvan okvira puke sličnosti, dajući temu dubinu kroz prikazivanje društvenog statusa i karaktera svojih modela.
Veza Sir Anthony Van Dyck s engleskom krunom započela je davno prije njegovog trajnog nastanjenja u Londonu. Godine 1620. ušao je u službu kralja Jamesa I., što je bio samo kratki uvod prije njegovih opsežnih putovanja kroz Italiju i španjolske nekretnine. Te godine kretanja i raznolikih narudžbi pripremile su ga za dublji, sudbonosni dolazak. Do 1632. godine vratio se u Englesku, nastavivši u dvoru gdje će se njegova reputacija vrhunskog portretista trajno utvrditi. Iste je godine imenovan „glavnim dvorskim slikarom Njegovih Veličanstava“, položajem koji je stavio u samu srž kraljevskog života.
Njegovo prisustvo u Londonu transformiralo je vizualni jezik monarhije. Odmaknuo se od krutog, formalnog portretizma prošlosti, birajući umjesto toga prikazivati kralja i aristokraciju s osjećajem nesamrtne gracioznosti i autoriteta. Sposobnost da dočeka karakter svojih modela omogućila mu je da postane vodeći dvorski slikar u Engleskoj. On nije samo bilježio lica; on je konstruirao sliku moći koja će utjecati na engleski dvor generacijama. Njegov rad u tom razdoblju donio je osjećaj dostojanstva i stavočnosti koji je definirao estetiku tog doba.
Sir Anthony Van Dyck posjedovao je tehničku svestranost koja mu je omogućila nesamozvoljan prijelaz između bogatog, gustog slikanja uljanim bojama i preciznih, oštrih linija bakropisa. Kao izniman crtač, razumio je strukturnu nužnost snažnog temelja prije nego što bi počeo nanositi boju. Njegove kompozicije često su se oslanjale na majstorsko uređenje forme, koristeći dramatičnu igru svjetla i sjene kako bi definirao konture svojih subjekata. Ta upotreba chiaroscura pružala je osjećaj dubine i volumena, posebito u njegovim religioznim i mitološkim scenama gdje se činilo da svjetlost izranja iz tame kako bi istaknula specifičan gest ili izraz lica.
Njegova paleta odlikovala se dubokim, zasićenim bojama i iznimnom pažnjom posvećenom najsitnijim detaljima teksture. Bilo da je prikazivao sjaj svile ili suptilnu teksturu kože, zadržao je osjećaj profinjenosti koji je izbjegao grubost nekih njegovih suvremenika. Ta preciznost nije bila ograničena samo na njegove službene narudžbe; sposobnost hvatanja pokreta i karaktera omogućila mu je da briljira u različitim žanrovima, od veličanstvenosti mitoloških narativa do intimne psihološke dubine njegovih portreta. Imao je poseban dar u korištenju svjetlosti kako bi sugerirao društveni status ili unutarnji temperament modela, često upotrebom širokih gestova i pažljivo odabranih pozadina kako bi uokvirio pojedinca.
Smrt koju je doživio Sir Anthony Van Dyck u Londonu, 9. prosinca 1641. godine, označila je kraj karijere koja je već transformirala vizualni jezik europskih dvoreva. Prateći tragovi velikog Petra Paula Rubensa, on se izdvio kao najznačajniji flamenski slikar siedamnaestog stoljeća. Njegova prisutnost na engleskom dvoru postavila je standard portretarstva koji će utjecati na smjer umjetnosti sljedećih 150 godina. Posjedovao je jedinstvenu sposobnost definiranja društvenog statusa i karaktera svojih subjekata kroz profinjenu tehniku koja postala mjerodavna za sve buduće generacije slikarâ.
Njegov utjecaj protezao se daleko izvan granica Engleske. Tijekom cijelog tog razdoblja, njegova djela prožimaju duboki utjecaj na umjetnost koja se stvarala širom Europe. Taj je domet pokrenula njegova nevjerojatna svestranost, kretanje između zahtjeva religijskih narativa i sofisticiranih potreba aristokracije. On nije samo bilježio lica; on je konstruirao sliku autoriteta i miline koja je postala željena estetika za one koji su nastojali projektirati svoju moć i status.
