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The Painter Martin Ryckaert
Oil on panel. Ca. 1631
Dyck, Anthony Van
The Painter Martin Ryckaert
Oil on panel. Ca. 1631
Dyck, Anthony Van

The famous Flemish painter is portrayed almost full-length, sitting in a chair and wearing red robes and a fur coat. This landscape painter and contemporary of Van Dyck had no left arm, which is clearly shown, rather than hidden, in this portrait. In keeping with the Northern tradition of portraiture established by Anthonis Mor (1519-1576) and Adriaen Willem Key (1515/1520 - 1568), Van Dyck places

Saint Francis of Assisi in Ecstasy
Oil on canvas. 1627 - 1632
Dyck, Anthony Van
Saint Francis of Assisi in Ecstasy
Oil on canvas. 1627 - 1632
Dyck, Anthony Van

The saint is depicted leaning on a boulder, in a state of mystical ecstasy following his meditation on death. That meditation is symbolized by the skull, cross and book. He is comforted by a musician angel, as is told in the book The Little Flowers of Saint Francis (Part II, second consideration). This work is from the artist´s second period in Antwerp, where he lived from 1627 to 1632 before leav

Head of Old Men
Oil on canvas. 1618 - 1620
Dyck, Anthony Van
Head of Old Men
Oil on canvas. 1618 - 1620
Dyck, Anthony Van

A bearded, grey-haired old man turns his head to the left over a black background. This is similar to another head by the same artist (P01694) and is probably a sketch or model for a larger work, intended to study expressions and posture. This work is from the artist´s youth, as can be seen in the rough texture of the brushstrokes on the face, which link it to other portraits from his first period

The Brazen Serpent
Oil on canvas. 1618 - 1620
Dyck, Anthony Van
The Brazen Serpent
Oil on canvas. 1618 - 1620
Dyck, Anthony Van

This dramatic scene from the Old Testament (Numbers 21, 5-9) depicts the moment when Moses saves his people from the snakes sent by God as punishment for their lack of faith. The bronze serpent on a rod, whose mere contemplation is sufficient to cure anyone bitten by a snake, symbolizes salvation. The image thus foreshadows Christ’s crucifixion, which brings redemption to humankind and triumphs ov

Endymion Porter and Anthony van Dyck
Oil on canvas. Ca. 1633
Dyck, Anthony Van
Endymion Porter and Anthony van Dyck
Oil on canvas. Ca. 1633
Dyck, Anthony Van

A protector and friend of Van Dyck, Endymion Porter (1587-1649) was secretary to the Duke of Buckingham and an important diplomat in the English Court. A great lover of the arts, he was in charge of acquiring works for the collection of King Charles I, and was one of Van Dyck´s greatest supporters during the latter´s stay in London. The aristocrat is shown frontally, wearing white satin, while the

Diana and a Nymph Discovered by a Satyr
Oil on canvas. 1622 - 1627
Dyck, Anthony Van (Workshop Of)
Diana and a Nymph Discovered by a Satyr
Oil on canvas. 1622 - 1627
Dyck, Anthony Van (Workshop Of)

From the 1857 Inventory of the Royal Museum through 2002, this work was listed as Diana and Endymion Discovered by a Satyr, but L. Ruiz has demonstrated that the scene is Diana and a Nymph Discovered by a Satyr, as the figure sleeping alongside Diana is female. Her body, completely covered by a bluish tunic, and her pearl necklace in no way recall Endymion’s masculine appearance. The satyr was a n

The Taking of Christ
Oil on canvas. 1618 - 1620
Dyck, Anthony Van
The Taking of Christ
Oil on canvas. 1618 - 1620
Dyck, Anthony Van

In the darkness of the Mount of Olives, Jesus receives the kiss that consummates Judas´ betrayal while Peter cuts off the ear of Malco, the High Priest´s servant, with his sword, as described in the Bible story. This work from Van Dyck´s youth is directly based on Venetian models. The low viewpoint and the use of a single source of light contribute to its great dramatic intensity

Head of Old Men
Oil on paper attached to panel. 1618 - 1620
Dyck, Anthony Van
Head of Old Men
Oil on paper attached to panel. 1618 - 1620
Dyck, Anthony Van

A bearded, grey-haired old man turns his head to the left over a black background. This is similar to another head by the same artist (P1491) and is probably a sketch or model for a larger work, intended to study expressions and posture.This head reflect a practice widespread among seventeenth-century artists of painting life studies in preparation for the faces of the figures in their religious a

The Mystic Marriage of Saint Catherine
Oil on canvas. 1618 - 1620
Dyck, Anthony Van
The Mystic Marriage of Saint Catherine
Oil on canvas. 1618 - 1620
Dyck, Anthony Van

The daughter of King Constus, Catherine of Alexandria lived in the early 4th century and was a martyr for her Christian faith. Famous for her beauty, wisdom, eloquence and chastity, she is frequently depicted at the moment of her mystical union with Christ.The center of the composition is the ring that the Christ child places on Catherine, who is shown in the sumptuous clothing and jewels that cor

Pietà
Oil on canvas. Ca. 1629
Dyck, Anthony Van
Pietà
Oil on canvas. Ca. 1629
Dyck, Anthony Van

The scene depicts one of the most dramatic moments of the Passion and Death of Christ, when the Virgin, accompanied by Mary Magdalene who kisses the Redeemer´s hand, and by Saint John who contemplates the scene, assumes her greatest significance in her role as mother during the moments immediately after the loss of her Son in the tragedy of Mount Calvary. Van Dyck succeeds in expressing this

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