Anthony van DyckFiandre, 1599–1641Portret van Jan Snellinck
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Amsterdam, Paesi Bassi
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- Fonte
- Il museo
Sull’opera
Con le parole del museo — in olandese
Portret van kunstenaar Jan Snellinck met onderschrift Joannes Snellinx Pictor Humanarum figurarum in Aulaeis et tapetibus Antuerpiae
Rijksmuseum
Scheda
- Numero di inventario
- RP-P-BI-7402
Che cosa raffigura
In catalogo
Fonti
- Rijksmuseum
- Immagine: Rijksmuseum — public domain
Nella vita di Anthony van Dyck
Tutta la vita1626–1632
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 · Luogo di lavoro
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.
