Anthony van Dyck佛兰德, 1599–1641The Virgin as Intercessor
作品信息
- 馆藏编号
- 1942.9.88
画面内容
已收入目录
出处
- 国家美术馆
- 图片： 国家美术馆 — Museum open access
与此同时，在Anthony van Dyck的生活中
完整生平1626–1632
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)
