DOI Page / Citation link:
https://doi.org/10.11588/diglit.63509#0009
SIR ANTHONY VANDYCK.
?f)iston>, portrait.
DIED 1641. AGED 42.
This eminent disciple of Rubens, improved by his studies of Titian, Paul
Veronese, and the other chiefs of the Venetian school, has in some of his
portraits equalled the finest works of Titian, and surpassed all other painters
in that line. He selected the most favourable, yet characteristic air and atti-
tude in his subjects, designed with admirable truth of expression, and with a
light and most delicate pencil, gave the animated hues of nature to forms of
inexpressible grace. The beauty of the hands is a characteristic of his pic-
tures, and the casting of his highly finished draperies is noble, easy, and sim-
ple. Whether he possessed the requisites for historical painting has been
much disputed, but his performances of that kind, though highly respectable,
indicate little invention or knowledge of passion.
He was born in 1598 or 1599 at Antwerp, and received his first instructions
from Henry Van Balen, whom he soon quitted for the nobler school of Rubens,
and in a short time was able to assist that great artist in his best works. By
the judicious advice of Rubens he went to Italy, and visited successively Ge-
noa, Venice, and Rome, acquiring with equal rapidity improvement, reputa-
tion, and wealth. From Rome (where his splendid manner of living distin-
guished him as Pittore Cavalieresco”') he was invited to Palermo. He
went again to Genoa, and after executing many capital works in that city re-
turned to Antwerp, where he produced, among other celebrated works, the
fine series of heads of his cotemporary artists.
The munificent character of King Charles the First, that liberal patron
of the arts, allured Vandyck to England; but disappointed of an introduction
to the king, he returned; leaving, however, some portraits, which when his
majesty had seen, he immediately ordered Sir Kenelm Digby to recal our
painter. On his arrival, he met with the most flattering reception and uni-
versal encouragement. He acquired the friendship of the king (who presented
him his portrait set in diamonds and attached to a gold chain), and the respect
?f)iston>, portrait.
DIED 1641. AGED 42.
This eminent disciple of Rubens, improved by his studies of Titian, Paul
Veronese, and the other chiefs of the Venetian school, has in some of his
portraits equalled the finest works of Titian, and surpassed all other painters
in that line. He selected the most favourable, yet characteristic air and atti-
tude in his subjects, designed with admirable truth of expression, and with a
light and most delicate pencil, gave the animated hues of nature to forms of
inexpressible grace. The beauty of the hands is a characteristic of his pic-
tures, and the casting of his highly finished draperies is noble, easy, and sim-
ple. Whether he possessed the requisites for historical painting has been
much disputed, but his performances of that kind, though highly respectable,
indicate little invention or knowledge of passion.
He was born in 1598 or 1599 at Antwerp, and received his first instructions
from Henry Van Balen, whom he soon quitted for the nobler school of Rubens,
and in a short time was able to assist that great artist in his best works. By
the judicious advice of Rubens he went to Italy, and visited successively Ge-
noa, Venice, and Rome, acquiring with equal rapidity improvement, reputa-
tion, and wealth. From Rome (where his splendid manner of living distin-
guished him as Pittore Cavalieresco”') he was invited to Palermo. He
went again to Genoa, and after executing many capital works in that city re-
turned to Antwerp, where he produced, among other celebrated works, the
fine series of heads of his cotemporary artists.
The munificent character of King Charles the First, that liberal patron
of the arts, allured Vandyck to England; but disappointed of an introduction
to the king, he returned; leaving, however, some portraits, which when his
majesty had seen, he immediately ordered Sir Kenelm Digby to recal our
painter. On his arrival, he met with the most flattering reception and uni-
versal encouragement. He acquired the friendship of the king (who presented
him his portrait set in diamonds and attached to a gold chain), and the respect