Anthony van DyckVlaanderen, 1599–1641The Virgin as Intercessor
Mag men het zien?
Ja, het ontvangt bezoek
Publiek tentoongesteld.
- Gecontroleerd
- Ongewijzigd sinds
- Bron
- Het museum
Gegevens
- Inventarisnummer
- 1942.9.88
Wat het toont
In de catalogus
Bronnen
- National Gallery of Art
- Afbeelding: National Gallery of Art — Museum open access
Intussen, in het leven van Anthony van Dyck
Het hele leven1626–1632
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.
1631
Marie de' Medici Visits His Studio
In September 1631 Van Dyck received in his studio the exiled Queen of France, Marie de' Medici, with her son Gaston d'Orléans, and painted their portraits; the queen noted in her memoirs his collection of works by Titian.
![Study of a Madonna [verso], Leonardo da Vinci, probably 1470/1480](https://api.nga.gov/iiif/942425d5-018d-44a9-ba87-dfb0057226b7/full/!2400,2400/0/default.jpg)
