VAN DYCK, dik (VANDYKE), Sir AN THONY (ANTHONIS) (1599-1G11). The most im portant portrait painter, next to Ruben., of the Flemish school ; also a figure-painter and an etcher. He was born at Antwerp, March 22, 1599, the son of Francis van Dyck, a wealthy silk mercer, and of Marie Cuypers, who was known for her skill in embroidery. He was placed, at ten, with the painter Hendrik van Palen: at fif teen he was independently established at Antwerp with Jan Brueghel the younger. His heads of "Christ" and of the "Twelve Apostles" attracted the attention of Rubens, who made the young artist his assistant and friend. He lived in the great master's house. and fell completely under his influence, often painting the same subjects in a manner which makes it extremely difficult to dis tinguish them, as, for example, in several works at Berlin and a "Saint Jerome" at Dresden. The pretty stories of his youth. like that of his love affair with the maiden in charge of the Arch duchess's dogs, are mostly mythical. In Novem ber, 1620, on invitation of the Earl of Arundel, he went to England, and was granted a pension by James 1., but in February, 1621, he returned to Antwerp. From there he set out for Italy, arriving at Genoa in November. By this time he had formed an independent style, based upon Rubens's, less robust in character and bright in color, but more refined.
At Genoa he was warmly welcomed by the resident Flemish painters, like the brothers De Wael, whom he commemorated in the portrait of the Capitoline :Museum (Rome) and in that of Jacobus de Wael and his wife at .Munich. Here the best part of his life work begins. He was especially influenced by the great Venetian mas ters. producing works which in their splendor of color rivaled Titian. Wonderfully characteristic is the series of portraits of the Genoese nobility, in their rich. costly robes and glittering jewels, which are still mostly to be seen in local palaces.
Though Genoa remained his headquarters, he made short visits to other cities. Florence, Bologna, and Venice. Ilis Italian sketchbook, now in possession of the Duke of Devonshire, gives interesting record of his studies. many of which are after Titian. At Rome (1623) he was especially patronized by Cardinal Bentivoglio, whose fine portrait hangs in the Pitti Palace. On a. visit to Palermo, at the invitation of the Governor, Emmanuele Filiberto of ,Savoy. he por trayed his host (Turin), besides painting the celebrated Aladonna del Rosario. (See MADONNA.)
Afterwards he painted portraits of other mem bers of the of Savoy at Turin, now in the Pinakothek. The date of his return to Ant werp is uncertain. Ile was not present at his father's deathbed. December 1. 1622. as is often stated, but liaye returned in January, 1626, though there is no proof of his presence at Ant werp before Slarell. 1828. 1u the meantime he probably visited Aix-la-Chapelle and Paris.
The second Antwerp period is that of Van Dycles best work. In friendly rivalry with Rubens, he established an influential school whose work he superintended. Sometimes he painted after Rubens's sketches, achieving works difficult to distinguish from his master's, as in "Saint Martin Dividing ills Cloak" (National Gallery, London, and Saventhein, and the "Raising of the Brazen Serpent" (Madrid and Richmond). This is the period of his chief re ligious works. At his father's dying wish, Ito presented to the Dominican Sisters at Antwerp a picture of "Christ on the Cross" ( Antwerp Museums). This was one Of 11 is favorite subject s; others were the "Pietr mid "Bewailing the Dead Body of Christ," of which there are splendid] ex amples at Antwerp, Vienna, and _Munich. Of his Madonnas well-known examples are at Munich, Paris, Berlin. and Palermo. His mythological subjects are loss frequent; among the best known are "Danae" (Munich) and "Diana and En dymion" I His portraits were no less excellent in color than those done at Genoa; they show increased dignity and nobility of character. Ilis celebrity is attested by the appointment as Court painter to the Spanish regents of the Netherlands, Albert and Isabella ; his portrait of the latter is in Madrid. Other sitters were Maria de' Medici, the exiled Queen mother of France, and her son Gaston, Duke of Orleans (Earl of Radnor). Most of the best portraits in European galleries be long to this period ; 'among them are those of Frans Snyders and his wife (Saint Petersburg and Cassel). the Count Palatine of Neuburg, the full-length Duke and Duehess of Croy, the so called Burgomaster of Antwerp and wife, and the Organist Liberti—all at Munich; the beautiful Princess Luisa de Tassis ( Liechtenstein Collec tion, Vienna) ; Anna Wake (The Hague) ; Presi dent Ricardo and his son (Loin-re) ; and Cornelis van der Geest (National Gallery, London), be sides many others in English private uollections.