DOI Page / Citation link:
https://doi.org/10.11588/diglit.68073#0207
FLEMISH PAINTING 181
RINALDO AND ARMIDA.
Sir Anthony Van Dyck Collection of
(1599-1641). Mr. Jacob Epstein.
This picture, oils on canvas (90 x 96 inches), came from the Collec-
tion of the Duke of Newcastle, Clumber Park, Nottinghamshire, to
its present home in Baltimore.
Rinaldo is in shining, silver-blue armor with a flowing mantle of
golden yellow, which is clasped at the shoulder. Armida wears a
blue robe and a red mantle. The sky is blue with white clouds and
there is a tree in the background and an enchanted lake at the right.
The influence of Van Dyck’s master, Rubens, is very apparent in
this gorgeous picture, where all the delights of the Garden of Armida
are set forth—that magic garden that Tasso described in his Jerusa-
lem Delivered, to which many a Crusader was lured.
Another Rinaldo and Armida by Van Dyck is in the Louvre.
Armida was a beautiful sorceress; and it was difficult to resist her
enchantment. Two messengers were sent from the Christian Army
with a talisman to effect Rinaldo’s escape. Armida followed Rinaldo
and, not being able to regain her power over him, rushed into the com-
bat and was killed. Rinaldo came of the noble Este family and ran
away at the age of fifteen to join the Crusaders. He was enrolled in
the “Adventurers Squadron” and is often called the “Achilles of the
Christian Army.”
Anthony, or Antoon, van Dyck, was born at Antwerp in 1599, son
of a silk-merchant. At the age of ten he became the pupil of Henrik
van Balen and entered Rubens’s studio as assistant in 1618, when only
seventeen. He soon achieved a reputation for his portraits and visited
England. In 1621, by Rubens’s advice, he went to Italy, having
already acquired a reputation. After a five years’ stay, much of
which time was spent in Genoa, Van Dyck returned home and painted
his celebrated picture of the Crucifixion for the Church of St. Michael
in Ghent, which established his reputation. In 1630 he again visited
England; but, not meeting with the reception he had anticipated,
RINALDO AND ARMIDA.
Sir Anthony Van Dyck Collection of
(1599-1641). Mr. Jacob Epstein.
This picture, oils on canvas (90 x 96 inches), came from the Collec-
tion of the Duke of Newcastle, Clumber Park, Nottinghamshire, to
its present home in Baltimore.
Rinaldo is in shining, silver-blue armor with a flowing mantle of
golden yellow, which is clasped at the shoulder. Armida wears a
blue robe and a red mantle. The sky is blue with white clouds and
there is a tree in the background and an enchanted lake at the right.
The influence of Van Dyck’s master, Rubens, is very apparent in
this gorgeous picture, where all the delights of the Garden of Armida
are set forth—that magic garden that Tasso described in his Jerusa-
lem Delivered, to which many a Crusader was lured.
Another Rinaldo and Armida by Van Dyck is in the Louvre.
Armida was a beautiful sorceress; and it was difficult to resist her
enchantment. Two messengers were sent from the Christian Army
with a talisman to effect Rinaldo’s escape. Armida followed Rinaldo
and, not being able to regain her power over him, rushed into the com-
bat and was killed. Rinaldo came of the noble Este family and ran
away at the age of fifteen to join the Crusaders. He was enrolled in
the “Adventurers Squadron” and is often called the “Achilles of the
Christian Army.”
Anthony, or Antoon, van Dyck, was born at Antwerp in 1599, son
of a silk-merchant. At the age of ten he became the pupil of Henrik
van Balen and entered Rubens’s studio as assistant in 1618, when only
seventeen. He soon achieved a reputation for his portraits and visited
England. In 1621, by Rubens’s advice, he went to Italy, having
already acquired a reputation. After a five years’ stay, much of
which time was spent in Genoa, Van Dyck returned home and painted
his celebrated picture of the Crucifixion for the Church of St. Michael
in Ghent, which established his reputation. In 1630 he again visited
England; but, not meeting with the reception he had anticipated,