Alla Anthony Van Dycks Oljemålningar

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Bilder

Oljemålningar Från A till Z

Information

58904

sir anthony van dyvk

mk265 queen henrietta maria of england.1632 royal collection.

58993

sir george hayter

mk265 portrat of sophia kiselyova 1831 st petersburg state hermitage musum.

58954

sir henry raeburn,spencer

mk265 second maouess of northampton 1821 privatr collection.

59055

sir john lavery

mk265 spring 1903 paris musee dorsay

31755

Sir John Suckling

mk76 Painted between 1632 and 1641 Oil on canvas 85 1/4x511/4in

58900

sir josgua reynolds

mk265 potyrait of captain george k h coussmaker,1782,enw york the metropolitan museum of art,

58987

sir martn archer shee

mk265 jane lady munro 1819 london,national portait gallery.

29327

Sir Thomas Chaloner

mk65 Oil on canvas 41x32"

58901

sir thomas gainsborough

mk265 portrait of the hon. franves duncombe, c 1777, new york the frick collection

58955

sir thomas lawrence

mk265 catherinegray. lady manners 1794 cleveland museum of art

58956

sir thomas lawrence

mk265 elizabeth farren later cautess of derby 1790 new york the museum art

58959

sir thomas lawrence

mk265 airhur atterley 1790-1791 los angeles county museum of art

59070

sir william orpen

mk265 mrs st geoge c 1912 privte collection

1092

Soldier on Horseback

96981

St Jerome

Oil on canvas Dimensions 215 x 195 cm cyf

21727

St Marrin Dividing his Cloak (mk08)

C.1618 Oil on panel, 171.6x158cm Zaventem,St Martin

33695

St Martin Dividing his Cloak

mk86 c.1618 Oil on panel 171.6x158cm Zaventem,St Martin

87548

Studienkopf eines alten Mannes

um 1618 Medium Oil on oak panel Dimensions Deutsch: 49,5 x 58 cm cjr

81229

Study of a Bearded Man with Hands Raised

oil on canvas painting by Sir Anthony Van Dyck, c. 1616 Date c. 1616 cyf

77914

Study of a Bearded Man with Hands Raised,

Study of a Bearded Man with Hands Raised, oil on canvas painting by Sir Anthony Van Dyck, c. 1616 cjr

21726

Suanna and the Elders (mk08)

C.1621/22 Oil on canvas 194X144cm Munich,Bayerische Staats-gemaldesammlungen,Alte Pinakothek

33694

Susanna and the Elders

mk86 c.1621/22 Oil on canvas 194x144cm Munich,Bayerische Staats-gemaldersammlungen,Alte Pinkakothek

20499

Susanna and The Elders (mk03)

c.1620-22 Oil on canvas, 76 3/8x56 3/4"(194x144.2cm) Alte Pinakothek, Munich

59105

tamara de lempicka

mk265 portrait of his lmperial highness grnd duke gabriel 1927.ptivate collection.

43125

The Balbi Children

mk170 1625-1627 Oil on canvas 219x151cm

33697

The Count of Arundel and his son Thomans

mk86 1636 Oil on canvas 187x162cm Madrid,Museo del Prado

21729

The Count of Arundel and his son Thonmas (mk08)

1636 Oil on canvas 187x162cm Madrid,Museo del Prado

31756

The Countess of clanbrassil

mk76 Painted probably in 1636 Oil on canvas 83 1/2x50 1/4in

20498

The drunken silenus (mk03)

1618-20 Oil on canvas,41 3/4x35 5/8"(107x90.5cm) Gemaldegalerie Alte Meister, Staatliche Kunstsammlungen, Dresden

20497

The expulsion of adam and eve from the garden of eden (mk03)

1621 Oil on buff paper,laid down, 7x6 3/4"(178x172mm) National Gallery of Canada,Ottawa

45591

The funf senses with landscape

mk186 1638 Strabburg, muse of the Beaux-type

80609

The Lamentation over the Dead Christ

Date ca. 1629(1629) Medium Oil on canvas Dimensions 303 x 225 cm (119.3 x 88.6 in) cjr

61254

The more intimate, but still elegant style he developed in England,

The more intimate, but still elegant style he developed in England, ca 1638

39667

The mystic marriage of the Blessed Hermann Foseph with Mary

mk150 1630 Canvas 160x128cm

28141

The Painter Marten Ryckaert

mk61 c.1629-1631 Oil on panel 148x113cm

42041

The rest in the flight to Egypt

mk166 1630 I Wave on cloth 134x195cm Galeria Palace Pitti, Florence

28850

The Rest on the Flight into Egypt

mk65 Oil on canvas 52 3/4x73 3/4in Pitti,Palatine Gallery

94332

The Rest on The Flight into Egypt

circa 1630(1630) Medium oil on canvas Dimensions 135 x 115 cm (53.1 x 45.3 in) cjr

20544

The Virgin and Child with Donors (mk05)

Canvas 98 1/2 x 75 1/4''(250 x 191 cm);22 1/2''(57.5 cm)at the top of the picture are a later additi8on Acquired by Louis XIV in 1685

61263

This triple portrait of King Charles I was sent to Rome for Bernini to model a bust on

This triple portrait of King Charles I was sent to Rome for Bernini to model a bust on

59011

thomas eakins

mk265 1900 new york the metropoltan musum of art

58957

thomas phillips geord

mk265 6th bayron 1813 oil co canvas 76.5 x 63.9 cm london national portait gallery.

87144

Triumph des Silen

1st third of 17th century Medium Oil on canvas Dimensions Deutsch: 135 x 195 cm cjr

58925

unknown artist

mk265 the waltz c 1800 paris musee carnavalrt

59059

valentin serov

mk265 portait of count felix sumarokov elston with his dog 1903 st petersburg russian museum.

20555

Venus Asking Vulcan for Arms for Aeneas (mk05)

Canvas,86 1/2 x 57''(220 x 145 cm);20''(51 cm)at the top of the picture are a later addition Entered the collection of Louis XIV between 1684 and 1715 INV

59008

william bouguerau

mk265 portrait of aristide boucicaut, 1875.paris bon marche collection.

43126

William Feilding,lst Earl of Denbigh

mk170 1633-1634 Oil on canvas 247.5x148.5cm

Föregående 1 2 3 4

Anthony Van Dyck

Dutch 1599-1641 Anthony Van Dyck Locations Flemish painter and draughtsman, active also in Italy and England. He was the leading Flemish painter after Rubens in the first half of the 17th century and in the 18th century was often considered no less than his match. A number of van Dyck studies in oil of characterful heads were included in Rubens estate inventory in 1640, where they were distinguished neither in quality nor in purpose from those stocked by the older master. Although frustrated as a designer of tapestry and, with an almost solitary exception, as a deviser of palatial decoration, van Dyck succeeded brilliantly as an etcher. He was also skilled at organizing reproductive engravers in Antwerp to publish his works, in particular The Iconography (c. 1632-44), comprising scores of contemporary etched and engraved portraits, eventually numbering 100, by which election he revived the Renaissance tradition of promoting images of uomini illustri. His fame as a portrait painter in the cities of the southern Netherlands, as well as in London, Genoa, Rome and Palermo, has never been outshone; and from at least the early 18th century his full-length portraits were especially prized in Genoese, British and Flemish houses, where they were appreciated as much for their own sake as for the identities and families of the sitters.

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