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The Young Van Dyck

20.11.2012 - 31.03.2013

In 1609 Van Dyck was apprenticed to Hendrik van Balen, one of the leading painters in Antwerp. From there he probably went to the studio of Rubens, but it is not clear when this happened.

Between approximately 1613 and 1618, the year when he registered as a master in the painters’ guild, Van Dyck worked in a variety of styles. In what are probably his earliest pictures he appears tentative in his rendering of anatomy. But even then he shows a strong personality and an experimental bent, which can be seen in his taste for rugged types and textured surfaces, both of which are different from what was common in Antwerp at the time.

Paintings such as the Drunken Silenus and The Lamentation are more accomplished than pictures displayed earlier in this exhibition. They show Van Dyck experimenting with modes of expression associated with Venetian and early Netherlandish painting.

In 1618, the year when he became an independent master, Van Dyck painted four portraits which are among only seven dated works made during his youth. In that same year he probably also painted his first public commission: Christ Carrying the Cross made for the church of the Dominicans in Antwerp. From approximately 1617 to 1621 Van Dyck worked in the studio of Rubens, and at the same time painted independently, in a style that combines the influence of Rubens with a strong personal manner, visible in the painterly passages and the rugged, un-idealised facial types. Paintings produced in this original mixture of personal and borrowed elements can be seen in this exhibition. They are surprisingly powerful and mature works for an artist who was around 18 to 21 years of age.

Van Dyck collaborated with Rubens from at least 1617 until 1621. In the studio he was one of a team of collaborators that assisted the master painting parts of his pictures, or making variants that Rubens would retouch to some degree. Eventually his status within the studio outgrew that of other collaborators. In March of 1621 Rubens signed a contract where it was stipulated that a group of paintings were to be executed by Rubens himself and by ‘Van Dyck with some other pupils’. None of the other pupils was mentioned by name.

Rubens coached Van Dyck, who reached a point where he could imitate the master´s style to perfection. He made drawings that Rubens used as models in his paintings, and drawings after the master´s pictures so that they could be engraved. Rubens also favoured the young artist by allowing him to use his drawings and models (as occurs in Christ crowned with Thorns).

Throughout his youth we perceive in the art of Van Dyck a sense of quest which is manifest in his frequent changes in style. Probably at the same time as he worked for Rubens and came up with a personal version of the master´s style, he also developed a distinctive manner of his own. This can be seen in works where he used an original cast of characters, where he is less concerned with three-dimensional volume, and where he shows a taste for sweeping strokes of the brush and highly stylised forms. These characteristics are present in paintings such as Saint Sebastian Bound for Martyrdom and The Betrayal of Christ, which are probably among the last paintings that he made before his departure from Antwerp to Italy in the autumn of 1621.

Two versions of a painting of Saint Jerome are exhibited nearby. The practice of making several versions of a composition was not uncommon from the time of the Renaissance, but it was exploited by Van Dyck to an unusual degree, allowing him to increase his profits.

Some of Van Dyck´s portraits can be dated to the period shortly before he left Antwerp in October of 1621 for a seven year stay in Italy. We know this because some portraits show sitters that he met during a visit to the English court, between October 1620 and March 1621. Also, several sources inform us that he painted a portrait of Rubens´s wife Isabella Brant as a gift for his master shortly before he left Antwerp. In these paintings we see the marks of a personal manner, defined by stylised, fluent forms and the elegant poses. These would become trademark features later in his life, making him one of the most influential portrait painters in European art. It is remarkable that an artist who had been so close to Rubens could also paint in such a personal, fluid way; it may be seen as a measure of his will to be independent.

Curator:
Alejandro Vergara, Senior Curator of Flemish Painting and Northern Schools (to 1700) at the Museo Nacional del Prado, and Friso Lammertse, Curator at the Boijmans van Beuningen Museum, Rotterdam

Access

Room A and B. The Jerónimos and the Villanueva Buildings

Opening time

Monday to Saturday from 10am to 8pm. Sunday and holidays from 10am to 7pm

Supported by:
Fundación BBVA

Videos

Artworks

1

Self-portrait

Van Dyck
Oil on panel, 43 x 32.5 cm
ca. 1615
Vienna, Gëmaldegalerie der Akademie der Bildenen Künste

2

Saint Jerome

Van Dyck
Oil on canvas, 158 x 131 cm
ca. 1615 - 1617
Vienna, Liechtenstein Museum. The Princely Collections

3

The Adoration of the Shepherds

Van Dyck
Oil on canvas, 155 x 232 cm
ca. 16176 - 1617
Postdam, Stiftung Preußische Schlöser und Gärten Berlin-Brandenburg

4

Two Studies of a Bearded Man

Van Dyck
Oil on canvas, 40.5 x 53.5 cm
ca. 1616 - 1617
Antwerpen, Museum Rockoxhuis

5

The Adoration of the Shepherds

Van Dyck
Drawing on paper, 20.7 x 28.9 cm
ca. 1618 - 1620
Berghes, Musée Du Mont-de-Piété

6

The Entry of Christ into Jerusalem

Van Dyck
Oil on canvas, 151.1 x 229.2 cm
ca. 1617
Indianapolis, Indianapolis Museum Of Art (IMA)

7

Jupiter and Antiope

Van Dyck
Oil on canvas, 112.5 x 151 cm
ca. 1618
Cologne, Wallraf-Richartz-Museum & Fondation Corboud

8

Young Women Resting her Head on her Hand( probably The Penitent Magdalene)

Van Dyck
Oil on canvas, 49 x 37.5 cm
ca. 1617 - 1618
New York, Private Collection

9

Drunken Silenus

Van Dyck
Oil on canvas, 107 x 90.5 cm
ca. 1617 - 1618
Dresden, Gemäldegalerie Alte Meister Staatliche Kunstsammlungen Dresden

10

The Lamentation

Van Dyck
Oil on canvas, 207 x 137 cm
ca. 16197 - 1618
Oxford, Ashmolean Museum

11

The Crucifixion of Saint Peter

Van Dyck
Oil on canvas, 204 x 117 cm
ca. 1618 - 1619
Brussels, Royal Museum of Fine Arts

12

Portrait of an Elderly Man

Van Dyck
Oil on canvas, 117 x 100.5 cm
ca. 1618
Brussels, Royal Museum of Fine Arts

13

Portrait of a Sixty-year-old Man

Van Dyck
Oil on panel, 65.5 x 50.5 cm
1618
Dresden, Gemäldegalerie Alte Meister Staatliche Kunstsammlungen Dresden

14

Portrait of a Sixty-year-old Woman

Van Dyck
Oil on pane, 66 x 52 cm
1618
Dresden, Gemäldegalerie Alte Meister Staatliche Kunstsammlungen Dresden

15

Portrait of a Fifty-seven-year-old Man

Van Dyck
Oil on panel, 106 x 73.5 cm
1618
Vienna, Liechtenstein Museum. The Princely Collections

16

Portrait of a Fifty-eight-year-old Woman

Van Dyck
Oil on panel, 104.5 x 76 cm
1618
Vienna, Liechtenstein Museum. The Princely Collections

17

Recto and Verso: Christ Carrying a Cross

Van Dyck
Drawing on paper, 15.4 x 20.2 cm
ca. 1618
Torino, Biblioteca Reale de Torino

18

Christ Carrying a Cross

Van Dyck
Drawing on paper, 16 x 20.5 cm
ca. 1618
Lille, Palais des Beaux-Arts

19

Christ Carrying a Cross

Van Dyck
Drawing on paper, 19.7 x 15.6 cm
ca. 1618
Chatsworth, The Devonshire Collection

20

Study for Man with Outstreched Arm

Van Dyck
Drawing on paper, 27 x 43.3 cm
ca. 1618
London, The Courtauld Institute of Art

21

Christ Carrying a Cross

Van Dyck
Oil on panel, 216 x 163 cm
ca. 1618
Antwerpen, Sint-Pauluskerk

22

Recto and verso: Moses and the Brazen Serpent

Van Dyck
Drawing on paper, 24.2 x 20.3 cm
1618 – 1620
New York, Morgan Library and Museum

23

Recto: Moses and the Brazen Serpent. Verso: Mystic Marriage of Saint Catherine

Van Dyck
Drawing on paper, 15.3 x 20.6 cm
ca. 1618 – 1620
London, The Courtauld Institute of Art

24

Moses and the Brazen Serpent

Van Dyck
Drawing on paper, 12.1 x 19.2 cm
ca. 1618 – 1620
Chatsworth, The Devonshire Collection

25

Woman with Streched Arms

Van Dyck
Drawing on paper, 46.4 x 21.9 cm
ca. 1618 – 1620
Stockholm, Nationalmuseum

27

Samsom and Delilah

Van Dyck
Drawing on paper, 15.8 x 20.3 cm
ca. 1618 - 1620
Bremen, Kunsthalle Bremen

28

Samsom and Delilah

Van Dyck
Drawing on paper, 15.8 x 23.4 cm
ca. 1618 - 1620
Berlin, Kupferstichkabinett Staatliche Museen

29

Samson and Delilah

Van Dyck
Oil on canvas, 152.3 x 232 cm
ca. 1618 – 1620
London, Dulwich Picture Gallery

30

The Mystic Marriage of Saint Catherine

Van Dyck
Drawing on paper, 18.2 x 26.2 cm
ca. 1618 – 1620
Paris, Fondation Custodia/Collection Frits Lugt

31

The Mystic Marriage of Saint Catherine

Van Dyck
Drawing on paper, 15.8 x 23.5 cm
ca. 1618 – 1620
New York, Morgan Library and Museum

32

The Mystic Marriage of Saint Catherine

Van Dyck
Drawing on paper, 18.2 x 28.1 cm
ca. 1618 – 1620
Washington, National Gallery of Art, Woodner Collection

33

Recto: Drawing for the Mystic Marriage of Saint Catherine Painting : Sitting woman. Verso: Studies of Babies

Van Dyck
Drawing on paper, 40.8 x 28.5 cm
ca. 1618 – 1620
London, The British Museum

35

Study of Two Heads

Van Dyck
Oil on canvas, 45 x 67 cm
ca. 1618 - 1620
New York, Private Collection

36

Studies for Two Heads

Van Dyck
Oil on panel, 50 x 58.5 cm
ca. 1618 - 1620
Lyon, Musée des Beaux-Arts

37

Study of Boy’s Head and Hands (Modello for Ottawa Suffer Little Children To Come Unto Me)

Van Dyck
Oil on canvas, 43 x 28.9 cm
ca. 1618 - 1620
New York, Private Collection

38

Suffer Little Children to Come unto Me

Van Dyck
Oil on canvas, 131.4 x 198.2 cm
ca. 1618 - 1620
Ottawa, National Gallery of Canada

39

Christ

Van Dyck
Oil on panel, 66.5 x 51.8 cm
ca. 1618 - 1620
Genoa, Palazzo Rosso. Musei di Strada Nuova

40

John

Van Dyck
Oil on panel, 64.5 x 50 cm
ca. 1618 - 1620
Budapest, Szepmüveszati Muzeum

41

Jude

Van Dyck
Oil on panel, 61 x 49.5 cm
ca. 1618 - 1620
Vienna, Kunsthistorisches Museum Gemäldegalerie

42

Matthew

Van Dyck
Oil on panel, 82 x 51 cm
ca. 1618 - 1620
Brussels, Private Collection

43

Paul

Van Dyck
Oil on panel, 64 x 51 cm
ca. 1618 - 1620
Hannover, Niedersächsisches Landesmuseum

44

Peter

Van Dyck
Oil on panel, 62.5 x 49.5 cm
ca. 1618 - 1620
Paris, Private Collection

45

Philip

Van Dyck
Oil on panel, 64.5 x 50.5 cm
ca. 1618 - 1620
Vienna, Kunsthistorisches Museum Gemäldegalerie

46

Thomas

Van Dyck
Oil on canvas, 64 x 51 cm
ca. 1618 - 1620
Paris, Private Collection

47

Simon

Van Dyck
Oil on canvas, 63 x 48 cm
ca. 1618 - 1620
Dresden, Gemäldegalerie Alte Meister Staatliche Kunstsammlungen Dresden

48

An Apostle

Van Dyck
Oil on panel, 64 x 46.5 cm
ca. 1618 - 1620
Metz, Musée La Cour d’Or

49

Christ Crowned with Thorns

Van Dyck
Drawing on paper, 23.8 x 20.8 cm
ca. 1618 - 1620
London, Victoria & Albert

50

Christ Crowned with Thorns

Van Dyck
Drawing on paper, 18.6 x 17.6 cm
ca. 1618 - 1620
Amsterdam, Amsterdam Historisch Museum

51

Christ Crowned with Thorns

Van Dyck
Drawing on paper, 22.3 x 19.4 cm
ca. 1618 - 1620
Paris, Petit Palais, Musée des Beaux-Arts de la ville de Paris

52

Recto: Christ Mocked. Verso Study of a Right Arm and Hand Grasping a Staff

Van Dyck
Drawing on paper, 37.6 x 27.6 cm
ca. 1618 - 1620
Oxford, Ashmolean Museum

53

Kneeling Man

Van Dyck
Drawing on paper, 46.3 x 27 cm
ca. 1618 - 1620
Rotterdam, Museum Boijmans Van Beuningen

54

Male Nude Kneeling

Rubens
Drawing on paper, 52 x 39 cm
ca. 1609
Rotterdam, Museum Boijmans Van Beuningen

55

Christ Crowned with Thorns

Van Dyck
Drawing on paper, 38.5 x 31.5 cm
ca. 1618 - 1620
Paris, Musée du Louvre

57

Study for the Healing of the Lame (Old Bearded Man Carrying a Bundle)

Van Dyck
Drawing on paper, 36.8 x 22.8 cm
ca. 1618 - 1620
Dallas, Private Collection

58

Christ Healing the Paralytic

Van Dyck
Oil on canvas, 120.7 x 149 cm
ca. 16198 - 1620
London, The Royal Collection

59

Boar Hunt

Van Dyck and Snyders
Oil on canvas, 202 x 302 cm
ca. 1618 - 1620
Munich , Alte Pinakothek

60

Virgin and Child with Penitent Sinners

Van Dyck
Oil on canvas transfered to panel, 285 x 204 cm
ca. 1618 – 1619
Kassel, Gemäldegalerie Alte Meister Museumslandschaft Hessen Kassel

63

Studies after Rubens

Van Dyck
Drawing on paper, 31 x 20.1 cm
ca. 1616
Berlin, Kupferstichkabinett Staatliche Museen

64

A Horse with a Stable Hand

Van Dyck
Drawing on paper, 26.7 x 23 cm
ca. 1618
Florence, Galleria degli Uffizi

65

Cattle in Pasture

Van Dyck
Drawing on paper, 31.8 x 51.5 cm
ca. 1618 - 1620
Chatsworth, The Devonshire Collection

66

Sitting Man

Van Dyck
Drawing on paper, 23 x 19.5 cm
ca. 1618
Rotterdam, Museum Boijmans Van Beuningen

67

Battle of the Amazons

Anonymous (Van Dyck?) after Rubens
Drawing on paper, 81 x 102 cm
ca. 1618 - 1619
Oxford, Christ Church Picture Gallery

68

Michael Defeats the Rebel Angel

Van Dyck
Drawing on paper, 52.3 x 40.8 cm
ca. 1617 - 1618
Stockholm, Nationalmuseum

69

Michael Defeats the Rebel Angels

Lucas Vorsterman, after Rubens
Engraving, 56.5 x 43.5 cm
1621
London, The British Museum

70

San Jerome with an Angel

Van Dyck
Oil on canvas, 165 x 130 cm
ca. 1618-20
Rotterdam, Museum Boijmans Van Beuningen

71

Saint Jerome with an Angel

Van Dyck
Oil on canvas, 167 x 154 cm
ca. 1618 - 1620
Stockholm, Nationalmuseum

72

Saint Jerome in the Wilderness

Van Dyck
Oil on canvas, 195 x 215.5 cm
ca. 1618 - 1620
Dresden, Gemäldegalerie Alte Meister Staatliche Kunstsammlungen Dresden

73

Studies of a Man on Horseback and Three Horses Heads

Van Dyck
Drawing on paper, 26.3 x 16.4 cm
ca. 1617 - 1621
Amsterdam, Rijksmuseum

74

Study of a Soldier on Horseback

Van Dyck
Oil on canvas, 91 x 55 cm
ca. 1617 - 1618
Oxford, Christ Church Picture Gallery

75

Saint Sebastian Bound for Martyrdom

Van Dyck
Oil on canvas, 144 x 117 cm
ca. 1617 - 1618
Paris, Musée du Louvre

76

Saint Sebastian Bound for Martyrdom

Van Dyck
Oil on canvas, 226 x 160 cm
ca. 1620 - 1621
Edinburgh, National Gallery of Scotland

77

The Betrayal of Christ

Van Dyck
Drawing on paper, 17.3 x 22.6 cm
ca. 1620 - 1621
Berlin, Kupferstichkabinett Staatliche Museen

78

The Betrayal of Christ

Van Dyck
Drawing on paper, 21.1 x 32.3 cm
ca. 1620 - 1621
Vienna, Albertina

79

Recto: The Betrayal of Christ. Verso: Sleeping Apostles

Van Dyck
Drawing on paper, 16 x 24.5 cm
ca. 1620 - 1621
Berlin, Kupferstichkabinett Staatliche Museen

80

The Betrayal of Christ

Van Dyck
Drawing on paper, 18.6 x 18.5 cm
ca. 1620 - 1621
Berlin, Kupferstichkabinett Staatliche Museen

81

The Betrayal of Christ

Van Dyck
Drawing on paper, 21.8 x 23 cm
ca. 1620 - 1621
Vienna, Albertina

82

The Betrayal of Christ

Van Dyck
Drawing on paper, 24.6 x 21.2 cm
ca. 1620 - 1621
Paris, Musée du Louvre

83

Recto: The Betrayal of Christ. Verso: Studies for Christ's entry into Jerusalem

Van Dyck
Drawing on paper, 53.3 x 40.3 cm
ca. 1620 - 1621
Hamburg, Hamburger Kunstshalle

84

Study for a figure (for The Betrayal of Christ)

Van Dyck
Drawing on paper, 24.6 x 37.1 cm
ca. 1620 - 1621
Providence, R.I., Museum of Art, Rhode Island School of Design 

85

The Betrayal of Christ

Van Dyck
Oil on canvas, 141.9 x 113 cm
ca. 1620 - 1621
Minneapolis, Minneapolis Institute of Art (MIA)

87

Nicholaas Rockox

Van Dyck
Oil on canvas, 123.5 x 116 cm
ca. 1620 - 1621
Saint Petersburg, The State Hermitage Museum

88

Portrait of a Family

Van Dyck
Oil on canvas, 114 x 94.5 cm
ca. 1620 - 1621
Saint Petersburg, The State Hermitage Museum

89

Cornelis van der Geest

Van Dyck
Oil on panel, 37.5 x 32.5 cm
ca. 1620
London, The National Gallery

90

Portrait of a Woman and Child

Van Dyck
Oil on canvas, 131.5 x 106.2 cm
ca. 1620 - 1621
London, The National Gallery

91

Susanna Fourment and her Daughter Clara del Monte

Van Dyck
Oil on canvas, 172 x 117 cm
ca. 1620 - 1621
Washington, National Gallery of Art

92

Isabella Brant

Van Dyck
Oil on canvas, 153 x 120 cm
1621
Washington, National Gallery of Art

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