DOI chapter:
Scholars and Imitators of Van Dyck
DOI Page / Citation link:https://doi.org/10.11588/diglit.62914#0281
SCHOLARS AND IMITATORS.
241
period. There is little doubt that the splendid talents of Van
Dyck, and the decided preference given to his works, made a
deep impression upon Mytens; and although his majesty con-
descended to assure him that he could find employment for
both artists, yet he quitted the country about the year 1633,
and established his residence at the Hague, where he continued,
for many years, in the practice of his art, and he painted the
ceiling of the town-hall of that city, in 1658.
The numerous portraits, by the hand of Mytens, of the
royal family and the nobility of this country, are proofs of the
encouragement he received, and of his own industry. The
similarity between the works of the two masters would induce
an idea that Mytens had, at some time, studied the style of Van
Dyck : in some instances, he has been so successful in imitating
that master, that pictures by his hand still pass under the name
of Van Dyck ; and that, too, in very distinguished collections.
A comparison of their works will show, that those by Mytens
are much more laboured in the finishing ; have much less of
elegance and courtly ease in the attitudes of the figures; an
absence of that animated expression, breadth and refinement of
drawing, and free and masterly execution ;—qualities inseparable
from the genuine portraits by Van Dyck. Another peculiarity
may be observed in the style of dress: the portraits by Mytens
partake of the costume of the latter period of James I., remark-
able for the epaulets, bunches of ribbons at the waist, richness
of the embroidery, full plaited ruffs, and occasionally robes.
He frequently introduced into his pictures a letter, or a label,
on which was inscribed the name and title of the person.
There is an excellent portrait by him in the palace of the
King of Sardinia, representing Charles I. standing in the vesti-
bule of a palace, with a cane in his right hand, and the left
placed on his hip; he is habited in a richly-embroidered dress
of yellow satin, with slashed sleeves, a full pendent ruff, a blue
scarf over the left shoulder, and bunches of divers-coloured
ribbons at the waist and knees. The architecture, which is
exceedingly beautiful and elaborate, is the work of Henry Van
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241
period. There is little doubt that the splendid talents of Van
Dyck, and the decided preference given to his works, made a
deep impression upon Mytens; and although his majesty con-
descended to assure him that he could find employment for
both artists, yet he quitted the country about the year 1633,
and established his residence at the Hague, where he continued,
for many years, in the practice of his art, and he painted the
ceiling of the town-hall of that city, in 1658.
The numerous portraits, by the hand of Mytens, of the
royal family and the nobility of this country, are proofs of the
encouragement he received, and of his own industry. The
similarity between the works of the two masters would induce
an idea that Mytens had, at some time, studied the style of Van
Dyck : in some instances, he has been so successful in imitating
that master, that pictures by his hand still pass under the name
of Van Dyck ; and that, too, in very distinguished collections.
A comparison of their works will show, that those by Mytens
are much more laboured in the finishing ; have much less of
elegance and courtly ease in the attitudes of the figures; an
absence of that animated expression, breadth and refinement of
drawing, and free and masterly execution ;—qualities inseparable
from the genuine portraits by Van Dyck. Another peculiarity
may be observed in the style of dress: the portraits by Mytens
partake of the costume of the latter period of James I., remark-
able for the epaulets, bunches of ribbons at the waist, richness
of the embroidery, full plaited ruffs, and occasionally robes.
He frequently introduced into his pictures a letter, or a label,
on which was inscribed the name and title of the person.
There is an excellent portrait by him in the palace of the
King of Sardinia, representing Charles I. standing in the vesti-
bule of a palace, with a cane in his right hand, and the left
placed on his hip; he is habited in a richly-embroidered dress
of yellow satin, with slashed sleeves, a full pendent ruff, a blue
scarf over the left shoulder, and bunches of divers-coloured
ribbons at the waist and knees. The architecture, which is
exceedingly beautiful and elaborate, is the work of Henry Van
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