Anthony van DyckFlemish, 1599–1641Lucas Vorsterman
May one see it?
Not receiving at present
Chicago, United States
It belongs to the collection, but is not on display at present.
- Checked
- In this state since
- Source
- The museum
About the work
Among the 15 etchings that Van Dyck created for his portrait series, the Iconography, this arresting yet ambiguous portrait of Lucas Vorsterman may provide the most compelling description of a face; the wide-eyed expression suggests both apprehension and aggression. Van Dyck knew his subject well. Both he and Vorsterman served as assistants in the workshop of the celebrated and controlling painter, draftsman, and printmaker Peter Paul Rubens.
Art Institute of ChicagoCC BY 4.0
Particulars
- Accession number
- 1928.157
In the catalog
Sources
- Art Institute of Chicago
- Image: Art Institute of Chicago — CC0
Meanwhile, in the life of Anthony van Dyck
The whole life1626–1632
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 · Workplace
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.
