Anthony van DyckFlandre, 1599–1641Nicholas Lanier (1588-1666)
Peut-on la contempler ?
Inconnu
Musée d'Histoire de l'art de Vienne
Vienne, Autriche
Le propriétaire est connu ; on ignore si l’œuvre est exposée aujourd’hui.
- Dans cet état depuis
- Source
- Le musée
Notice
Au catalogue
Sources
- Musée d'Histoire de l'art de Vienne
- Image : Musée d'Histoire de l'art de Vienne — CC BY-NC-SA 4.0
Pendant ce temps, chez Anthony van Dyck
La vie entière1626–1632
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.
1627
Return to Antwerp
In 1627 Van Dyck returned from Italy to Antwerp, where he remained for five years, creating portraits of the Flemish nobility and large altarpieces, and beginning to work in printmaking.
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.
