Anthony van DyckFlandern, 1599–1641Jan Snellinx
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Art Institute of Chicago
Chicago, Vereinigte Staaten
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Über das Werk
Anthonie van Dyck created a series of 80 portraits of dignitaries and artists entitled The Iconography while he was in Antwerp, between his return from Italy in 1626 and his departure for England in 1631. This print depicts the history painter Jan Snellix (1544-1638). The series, left unfinished, reveals the artist's astonishing virtuosity with the etching needle, often drawing spontaneously on the copper plate, as seen in this and other early known states. Professional engravers later embellished the image with more ornament to finish the plate.
Art Institute of ChicagoCC BY 4.0
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- Inventarnummer
- 1926.418
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- Art Institute of Chicago: the museum's own open data · abgerufen vor 7 Tagen
- Bild: Art Institute of Chicago — CC0
Derweil im Leben von Anthony van Dyck
Das ganze Leben1626–1632
The Iconography Print Series
After returning to Antwerp, Van Dyck conceived a large series of engraved portraits of his contemporaries, the Iconography; he etched eighteen plates himself, executing the preparatory drawings mainly between 1626 and 1633. The first edition (80 plates) appeared in Antwerp in 1632.
1629
Beginning of His Relationship with Charles I
Van Dyck's relationship with Charles I began in 1629: through the intermediary Sir Endymion Porter, the king acquired his painting Rinaldo and Armida.
by 1630
Court Painter to Archduchess Isabella
From 1630 Van Dyck was court painter to Archduchess Isabella Clara Eugenia of Habsburg, regent of the Spanish Netherlands; for her portrait he received a gold chain.
1632 · Wirkungsort
London
1632
Post: court painter
5 July 1632
Principal Painter to King Charles I
On 5 July 1632 Charles I officially appointed Van Dyck principal painter to the king, guaranteeing an annual income of two hundred pounds sterling; the king gave him a large house with a garden on the banks of the Thames.
