DOI chapter:
Painters, Sculptors, Architects, Engravers, and their Works
DOI Page / Citation link:https://doi.org/10.11588/diglit.61295#0608
586
VANDYCK.
traits of Anna and her parents. When the knowledge of this stay
in Savelthem came to Rubens he was greatly dissatisfied with his
pupil, and attempted immediately to break the spell of his infatua-
tion. Happily he was able to do this, and taking a hasty leave of
Anna, Vandyck proceeded to Venice. His whole attention was
given to the study of Titian and Giorgione. He went next to Genoa,
where, some years before, Rubens had met with such success. The
remembrance of the master predisposed the Genoese in favor of the
pupil. His elegance and refinement of manner, added to his powers
as a portrait painter, quickly obtained for him all the patronage he
desired. Many of the portraits he then painted still remain in the
palaces of Genoa. From there he went to Rome. He was received
as a guest by Card. Bentivoglio, who had acquired a fondness for the
Flemings when Nuncio in Flanders. He commissioned Vandyck to
paint a “ Crucifixion,” and a full-length portrait of himself. The
latter is now in the Pitti Pal. Soprani says that he remained two
years in Rome. His leaving it has been ascribed to the manner in
which the Flemish artists there disparaged him. On his arrival he
had found that, as a class, they were intemperate and uncongenial to
himself; and he ceased to attend their meetings. They were an-
noyed at this, and made him so uncomfortable that he returned to
Genoa. At Genoa, he frequented the house of Sofonisba Angosciola,
a celebrated artist, and he was accustomed to say that he had learned
more of the principles of art from this woman, who had become blind,
than from the works of the most celebrated painters. He was in-
vited to Palermo, where his stay was short, for, the plague breaking
out, he was obliged to flee. In travelling, he met the Countess of
Arundel and her two sons, and accompanied them to Turin. He
went also to Florence and other Italian cities, but spent most of his
time in Genoa, until, at the end of 1G2G, he returned to Antwerp.
The story of his successes in Italy had reached his native city. He
was not allowed to remain idle. His first large work was an altar-
piece for the ch. of the Augustines. The original effect of this pic-
ture cannot be-understood from its present state. It represents S.
Augustine in ecstasy, and Vandyck painted him in light vestments.
The brotherhood insisted that these should be changed to black,
which spoiled its arrangement of light, and its whole appearance.
He then received a commission from the canons of the collegiate ch.
of Courtray for a large altar-piece representing the “ Raising of the
Cross.” When he carried it to them they insisted upon seeing it
before it was put in its place, and declared that it was altogether
wanting in dignity, and, calling him a “ dauber,” they left him. He
returned to Antwerp and said nothing of this. Soon persons of good
judgment and taste went to see the picture, and declared it a wron-
derful work for so young a man. After a time the canons became
convinced of their mistake, and decided to employ Vandyck to paint
VANDYCK.
traits of Anna and her parents. When the knowledge of this stay
in Savelthem came to Rubens he was greatly dissatisfied with his
pupil, and attempted immediately to break the spell of his infatua-
tion. Happily he was able to do this, and taking a hasty leave of
Anna, Vandyck proceeded to Venice. His whole attention was
given to the study of Titian and Giorgione. He went next to Genoa,
where, some years before, Rubens had met with such success. The
remembrance of the master predisposed the Genoese in favor of the
pupil. His elegance and refinement of manner, added to his powers
as a portrait painter, quickly obtained for him all the patronage he
desired. Many of the portraits he then painted still remain in the
palaces of Genoa. From there he went to Rome. He was received
as a guest by Card. Bentivoglio, who had acquired a fondness for the
Flemings when Nuncio in Flanders. He commissioned Vandyck to
paint a “ Crucifixion,” and a full-length portrait of himself. The
latter is now in the Pitti Pal. Soprani says that he remained two
years in Rome. His leaving it has been ascribed to the manner in
which the Flemish artists there disparaged him. On his arrival he
had found that, as a class, they were intemperate and uncongenial to
himself; and he ceased to attend their meetings. They were an-
noyed at this, and made him so uncomfortable that he returned to
Genoa. At Genoa, he frequented the house of Sofonisba Angosciola,
a celebrated artist, and he was accustomed to say that he had learned
more of the principles of art from this woman, who had become blind,
than from the works of the most celebrated painters. He was in-
vited to Palermo, where his stay was short, for, the plague breaking
out, he was obliged to flee. In travelling, he met the Countess of
Arundel and her two sons, and accompanied them to Turin. He
went also to Florence and other Italian cities, but spent most of his
time in Genoa, until, at the end of 1G2G, he returned to Antwerp.
The story of his successes in Italy had reached his native city. He
was not allowed to remain idle. His first large work was an altar-
piece for the ch. of the Augustines. The original effect of this pic-
ture cannot be-understood from its present state. It represents S.
Augustine in ecstasy, and Vandyck painted him in light vestments.
The brotherhood insisted that these should be changed to black,
which spoiled its arrangement of light, and its whole appearance.
He then received a commission from the canons of the collegiate ch.
of Courtray for a large altar-piece representing the “ Raising of the
Cross.” When he carried it to them they insisted upon seeing it
before it was put in its place, and declared that it was altogether
wanting in dignity, and, calling him a “ dauber,” they left him. He
returned to Antwerp and said nothing of this. Soon persons of good
judgment and taste went to see the picture, and declared it a wron-
derful work for so young a man. After a time the canons became
convinced of their mistake, and decided to employ Vandyck to paint