Anthony Van Dyck. A brilliant and ambitious portrait painter

Van Dyck Antonis (1599-1641), Flemish painter.

Born on March 22, 1599 in Antwerp in the family of a wealthy textile merchant. From 1609 he studied with X. van Valen, and by 1615 he already had his own workshop.

Around 1618--1620 worked as an assistant to P. P. Rubens, at the end of 1620 - beginning of 1621 - at court English king James I, then returned to Antwerp.

From the end of 1621 Van Dyck lived in Italy, mainly in Genoa.

From 1632 he worked in London as a court artist to Charles I. C youth Van Dyck showed interest in portrait painting(portrait of J. Vermeulen, 1616).

In 1615-1616. in his workshop, together with other young artists, he completed the “Heads of the Apostles” series, painted paintings on religious and mythological subjects (“The Crucifixion of St. Peter,” 1615–1617; “Jupiter and Antiope,” circa 1617–1618) .

Having experienced strong influence Rubens' painting style, varying the techniques and images he developed, Van Dyck gave the heroes of his paintings a more elegant appearance (“John the Baptist and John the Evangelist,” 1618).

In the works of 1620-1621. (portrait of F. Snyders with his wife, “Saint Martin”, etc.) the artist’s desire for the spiritual nobility of images was determined, his sensitivity to the unique characteristics of each person was revealed.

In Italy, Van Dyck developed and perfected the type of Baroque ceremonial portrait, in which pose, bearing and gesture play a role (portrait of Cardinal G. Bentivoglio, circa 1623).

Familiarity with the color scheme of the Venetian school of painting was reflected in the gallery of brilliant ceremonial portraits of the Genoese nobility. At the same time Van Dyck created expressive images gifted people (portrait of the sculptor F. Duquesnoy, circa 1622; portrait of a man, circa 1623). Late 20's - early 30's. XVII century - the period of Van Dyck’s highest creative upsurge. In ceremonial portraits, he managed to organically combine the individual characteristics of the image with the solemnity of its presentation (portrait of Marie Louise de Tassis, between 1627 and 1632).

IN intimate portraits, in particular the painter F. Snyders, around 1620), the artist revealed the richness of the spiritual life of his contemporaries. Religious and mythological compositions are very impressive: “Madonna del Rosario” (started in 1624), “Rest on the Flight to Egypt” (between 1627-1632).

From 1632 until his death (December 9, 1641), while working in London, Van Dyck painted a lot of the king (“Charles I on the Hunt,” circa 1635) and members of his family (“Children of Charles I,” 1637). ) and noble nobles.

Name Anthony van Dyck written in golden letters into history Flemish school painting XVII century. The images from his canvases are an example of refined harmony and sensuality, reflecting the true face of the entire era.

Born in 1599, Anthony van Dyck was the seventh child in the family of a wealthy cloth merchant from Antwerp. In 1607, shortly after the death of his mother, the boy was apprenticed to Hendrick van Balen, where he learned the basics of the craft for four years. And already at 15, young van Dyck began to work independently.

Deciding to continue his studies, by the age of nineteen he joined the Guild of Artists named after St. Luke, where he became close with. Working in his workshop, Antonis began to carry out orders together with the master, and sometimes independently. Rubens' influence left its mark on many more late paintings van Dyck. At first, copying his teacher, he adopted his manner and style, along with the richness of color, completeness and sensuality of the plots. Most of the paintings with religious and mythological content in that period were painted under the great impression of the works of Rubens himself.

Art historians include among them such paintings as “Samson and Delilah” and “St. Martin and the Beggars." Color solution and the manner in them can still be called an imitation of Rubens. But gradually van Dyck moved on and in the next few years began to change his style, finding new facets and other means of expression. Subsequently, his paintings gained even greater popularity than Rubens's, probably due to their correspondence to the tastes of the public.

Envious people and critics for a long time they tried to prove that Rubens and his student were rivals, but these efforts were in vain; no reasoned confirmation of this has yet been found. Van Dyck carried the deep impression of his mentor’s work through all his work, preserving and enhancing the skills he acquired.

The artist's greatest fame came from his portraits. It was in Flanders that this genre of painting, which did not have the highest position in the general hierarchy, began to change. Van Dyck became one of the founders of the tradition of ceremonial portraiture in the 17th century; he painted more than a hundred images. His first customers were mainly wealthy families of merchants or artists. Even then, van Dyck’s ability to capture fleeting emotions, relaxed poses, and a lively look was evident.

Fate favored van Dyck. His early Antwerp period was marked by wide fame and recognition, and the flow of orders did not dry up. He even managed to work in London, at the court of King James I.

However, the artist’s nature demanded fresh impressions, and in 1621, inspired by examples of Renaissance art, he went to Italy. Having visited Genoa, Rome, Venice, Palermo and Milan, van Dyck became seriously interested in works. It was they who influenced the changes in van Dyck’s painting style - the dark background tones and refined figures remained in his painting.

One of the most significant, and perhaps the best, portraits is associated with this period, the model for which was the scientist and diplomat Cardinal Guido Bentivoglio. Neither the luxury of the cardinal's robe with lace and numerous folds, nor the thoughtful gaze directed to the side, in which wisdom and insight are read, is left without attention. This ceremonial portrait is a brilliant example of the combination traditional painting and individuality, and is regarded by many art historians as the pinnacle of Van Dyck's Italian period.

Family circumstances required the artist to return to his homeland, but he soon returned to England, where he finally delved into work on what would later be called an “aristocratic portrait.”

The new king, Charles I, was able to appreciate the painter's talent, and many of the portraits of that period depicted the ruling couple. The king's wife, Henrietta Maria, especially often posed for him. Last of famous portraits Queen in the image of St. Catherine, for unknown reasons hidden under several layers of paint from another work, was only recently discovered. One after another, paintings were created in which the color of the aristocracy appeared in all its splendor and splendor. And each was distinguished by the same liveliness, spontaneity characteristic of van Dyck’s brush.

The painter died after a long illness in 1641, outliving Rubens by just a year. According to his will, he was buried in St. Paul's Cathedral.

Contemporaries found it difficult to assess his character and personal qualities. Many accounts describe van Dyck as a charming, selfish and incredibly gifted man. Enough for yours short life he created huge amount There were more than 900 paintings, he was a member of many noble families and was generously awarded by more than one king. And yet today his paintings demonstrate not so much glory and greatness powerful of the world This is so much about the amazing talent and truly unique style of van Dyck himself.

After Rembrandt and Rubens, he is one of the most brilliant artists to attract our attention in the Hermitage, as evidenced by the collection of his paintings from museums around the world.

Anthony Van Dyck was born on March 22, 1599 in Antwerp, the seventh child in the family of a wealthy textile merchant, Frans Van Dyck, who was friends with many Antwerp artists. In 1609, at the age of 10, he was sent to a workshop famous painter Hendrik van Balen (1574/75-1632), who wrote on mythological themes.
In 1615-1616 Van Dyck opened his own workshop. TO early works includes his Self-Portrait (c. 1615, Vienna, Kunsthistorisches Museum), distinguished by its grace and elegance. In 1618-1620 he created a cycle of 13 panels depicting Christ and the apostles: St. Simon (c. 1618, London, private collection), St. Matthew (c. 1618, London, private collection). The expressive faces of the apostles are painted in a free pictorial manner. Nowadays, a significant part of the boards from this cycle are scattered throughout museums around the world. In 1618, Van Dyck was accepted as a master into the Guild of Painters of St. Luke and, already having his own workshop, collaborated with Rubens, working as an assistant in his workshop.

From 1618 to 1620 Van Dyck created works on religious themes, often in several versions: Coronation crown of thorns(1621, 1st Berlin version - not preserved; 2nd - Madrid, Prado)

Crowning with thorns 1620s

Prince of Wales in armor (future King Charles II) c. 1637

Family portrait

Self-portrait with Sir Endymion Porter. 1633

Cupid and Psyche 1638

Lady Elizabeth Timbelby and Dorothy, Viscountess Andover

Lucy Percy, Countess of Carlisle 1637

Sketch depicting Princesses Elizabeth and Anne

James Stewart, Duke of Lennox and Richmond 1632

Charles I on the hunt

Marquise Balbi 1625

Charles I, triple portrait 1625

Marquis Antonio Giulio Brignole - Sale 1625

Maria Clarissa, wife of Jan Woverius, with child 1625

In England, the dominant genre of painting was portraiture, and Van Dyck's work in this genre in England was a significant event. The main customers were the king, members of his family, and court nobility. Van Dyck's masterpieces include the Equestrian Portrait of Charles I with the Lord de Saint Antown (1633, Buckingham Palace, Royal Collections). The ceremonial Portrait of Charles I on a Hunt (c. 1635, Paris, Louvre) stands out, showing the king in hunting costume, in an elegant pose against the backdrop of a landscape. Known so-called Triple portrait of the king (1635, Windsor Castle, Royal Collections), in which the king is shown from three angles, because was intended to be sent to Italy, to the workshop of Lorenzo Bernini (1598-1680), who was commissioned to create a bust of Charles I. After Bernini's bust (not preserved) was delivered to London in 1636 and caused a sensation at the English court, Queen Henrietta Maria also wished to have her own sculptural image. In total, Van Dyck painted the queen more than 20 times, but for this project he created three separate portraits of her, among which the most significant Portrait of Henrietta Maria with the dwarf Sir Geoffrey Hudson (1633, Washington, National Art
stv). But, apparently, they were never sent, and this idea was not brought to life. Van Dyck in 1635 received an order to paint the children of the king The Three Children of Charles I (1635, Turin, Sabauda), which was later sent to Turin, and is considered a masterpiece child portrait. In the same year, he repeated the painting, and two years later he created the painting Five Children of Charles I (1637, Windsor Castle, Royal Collections).

During this period, Van Dyck painted spectacular portraits of courtiers, created portrait gallery young English aristocrats: Prince Charles Stuart (1638, Windsor, Royal Collections), Princess Henrietta Maria and William of Orange (1641, Amsterdam, Rijksmuseum), Portrait of the Royal Children (1637, Windsor Castle, Royal Collections), Portrait of Philip Wharton (1632, St. -Petersburg, Hermitage), Portrait of Lords John and Bernard Stuart (c. 1638, Hampshire, Mountbatten Collection).

By the end of the 30s he created excellent male portraits, excellent in solution and psychological characteristics, strict and truthful: Portrait of Sir Arthur Goodwin (1639, Derbyshire, Collection of the Duke of Devonshire), Portrait of Sir Thomas Chaloner (c. 1640, St. Petersburg, Hermitage).

Triumph of Silenus 1625

Samson and Delilah 1625

Love is not mutual

Henrietta Maria 1632

Henrietta Maria

Queen Henrietta Maria 1635

Vision of the Blessed Priest Joseph

In 1639 he married Mary Ruthven, the queen's lady-in-waiting, and in 1641 they had a daughter, Justiniana. In 1641, Anthony Van Dyck's health deteriorated, and after a long illness, he died on December 9, 1641 at the age of 42. He was buried in St. Paul's Cathedral in London.

Van Dyck painted about 900 paintings, a huge number for a man whose creative activity lasted about 20 years. He left a tremendous legacy, not only because he worked quickly and easily, but also because he used numerous assistants, artists from Flanders and England, who painted backgrounds, draperies, used mannequins to paint clothes.

Van Dyck's work had a huge influence on the development of English and European portraiture. He was the founder English school portrait, the traditions of which will be preserved in art for centuries. Van Dyck in his portraits showed people of different classes, different social level, different in mental and intellectual make-up. An adherent of the traditions of Flemish realism, he was the creator of the official ceremonial portrait, including the aristocratic portrait, in which he showed a noble, sophisticated, refined person, and was also the creator of the intellectual portrait.

Alleged portrait of the Marquise Geronima Spinola Doria

Self-portrait Late 1620s - early 1630s

Mary Stuart and William of Orange. Wedding portrait

Portrait of Charles I

Dorothy, Lady Dacre

portrait of a man in armor with re

Queen Henrietta Maria 1632

Young woman playing
on viola

Portrait of Charles I

Marie Louise de Tassis 1630

Portrait of prince Charles Louis

George Goring, Baron Goring

Cornelis van der Geest Huile sur panneau

Self-portrait

Portrait de mary Lady killigrew

Wharton Philadelphia Elizabeth

Henrietta Maria and Charles I

Mary with the Christ Child

James Stewart, Duke of Aechnock and Richmond

Anthony Van Dyck. Self-portrait. 1622-1623 State Hermitage Museum. Wikipedia.org

Flanders. Antwerp. Anthony Van Dyck was born into a wealthy merchant family in 1599. He was the seventh child. His mother will give birth to five more. And he will die soon after the 12th birth. Antonis was only 8 years old.

His father did not see anything wrong with his son wanting to become an artist. After all, his mother was a masterful embroiderer. He himself was fond of drawing in his youth. Therefore, with a light heart, at the age of 10, the father sent the boy to study with an artist.

Having talent and extraordinary perseverance, after only 4 years of study, young Van Dyck began to work independently.

Van Dyck was a child prodigy

Here is his self-portrait, painted at the age of 14. Van Dyck was clearly a child prodigy. Agree, it’s already clear that this boy is cut from a special cloth. You can read both ambition and self-confidence in your gaze.

Anthony Van Dyck. Self-portrait. 1613 Kunsthistorisches Museum in Vienna. Wikipedia.org

His success has been noticed. At the age of 18 he was accepted into the guild of St. Luke, which united artists. Only within the framework of this guild did the artist have the right to accept orders and receive money for them.

And he was accepted into the guild thanks to a series of amazing works. He creates the “Heads of the Apostles”. Here is one of the sketches.

Anthony Van Dyck. Elder's heads. 1618 Rokox House Museum in Antwerp, Belgium

From this work one can already say that Anthony Van Dyck is a great portrait painter.

But while he has not yet realized this, he becomes a student of the great Rubens.

Who is better, Van Dijk or Rubens?

At 24, Antonis writes his next masterpiece. Portrait of Cardinal Guido Bentivoglio.

Anthony Van Dyck. Portrait of Cardinal Guido Bentivoglio. 1625 Palazzo Pitti, Florence

What's special about this portrait? And the fact that before us is not just a church official vested with power. Before us is a person with a certain character. Intelligent and well-read. An ambitious diplomat. Guido was a controversial person.

On the one hand, he did a lot to prevent a repeat of St. Bartholomew's Night*. On the other hand, he was one of those who signed Galileo Galilei's death warrant. Although I was once his student.

There were enough orders in Italy. But in 1627 Van Dyck returned to Antwerp.

Van Dyck could have become a religious artist

Family misfortune forced the artist to return. His sister became seriously ill. However, he did not manage to find her alive.

For several years Van Dyck has been focusing on religious stories. Apparently under the influence of what happened. This is how his painting “The Ascension of Mary” appeared.

Anthony Van Dyck. Ascension of Mary. 1628-1629 National Gallery Washington. Nga.gov

For some reason, Van Dyck depicted all the holy virgins with thick necks. And some of his angels are very strange. Why did one of them wrap his head in a veil? And he looks at us so capriciously.

For comparison, here is a painting by Rubens on the same topic.

Peter Paul Rubens. Ascension of Mary. 1618 Kunstpalast Museum, Düsseldorf. Artchive.ru

Rubens has more sublimity and religious solemnity. His characters do not imply ambiguity. Maria is impeccable. Angels too.

No, it was not in vain that Van Dyck retreated. Why fight a genius? When you can go to another country and become equal in greatness, but in a different genre. That's what Van Dyck did.

Why Van Dyck moved to England

In 1632, Van Dyck received an offer from King Charles I of England to become a court artist.

He agreed. In England he had every chance of becoming the number one artist. The British did not need altar paintings. This is how they differed from Catholics. But they were happy to order portraits.

This is what portraiture was like in England before Van Dyck arrived.

Portraits of William Larkin. Left: Lady Lowe. 1610-1620 Private collection. Right: George Villiers, Duke of Buckingham, 1616 National Portrait Gallery, London

What do you see? Absolutely motionless dolls. With the skin color and thinness of seriously ill creatures. And neither bright blush nor formal clothes can revive these people.

It is not surprising that Van Dyck captivated the English aristocracy. And first of all, King Charles I.

Here is his most famous portrait, created by Van Dyck. “Charles I on the hunt.”

Anthony Van Dyck. Portrait of Charles 1 on a hunt. 1635 renessans.ru

Before us is a living person. Gentleman. No heavy dresses, just a hunting suit. Relaxed but aristocratic pose. The languid look of a man endowed with power.

The king had something to be delighted about. And he orders his portrait, as well as portraits of his wife and children, 30 times!

Anthony Van Dyck. Queen Henrietta Maria and Sir Geoffrey Hudson. 1633 National Gallery Washington

Van Dyck, of course, embellished his customers. We can judge this from the memoirs of their contemporaries. One lady saw portraits of Van Dyck. From which I concluded that all the ladies in England are beautiful.

But I was very disappointed when I saw Queen Henrietta Maria in person. Instead of a pretty woman, what appeared to her was an elderly person with skinny arms, crooked shoulders and front teeth sticking out of her mouth.

Van Dyck's finest hour

The master was given the title of nobleman. He received the title of knight from the king's hands. Dreams come true.

The most notable nobles of British society pose for him. He has no end to expensive orders.

Van Dyck masterfully feels and conveys on canvas the atmosphere of the royal environment. The portrait painter imparts pride to his clients’ posture and elegant nobility to their poses and gestures.

These are the offspring of the Stewart family. One of Van Dyck's most famous portraits.

Anthony Van Dyck. Lord John Stewart and his brother Lord Bernard Stewart. 1638 National Gallery London. Nationalgallery.org.uk

These gentlemen are only 17 and 16 years old. Both of them will die at the age of 23 on Civil War. As a result, Charles I himself will die. He will be the only English king executed in the entire history of England.

Anthony Van Dyck. Lady d'Aubigny and the Countess of Portland. 1638-1639 , Moscow

And these ladies tell their family history. The one on the left is the sister of the husband of the one on the right. The portrait was painted as a sign of their reconciliation. After all, Earl Stuart married a girl without the consent of the family. After some time, his relatives recognized this marriage. And the count’s sister favorably demonstrates this.

Van Dyck was also an unsurpassed children's portrait painter. Although he depicts them in adult poses and adult clothes. Otherwise, etiquette did not allow it.

But we can sense mischief in their eyes. And everyone has their own character.

Anthony Van Dyck. The eldest children of King Charles 1. 1636 Royal Art Collection of Windsor Castle, UK

Pot, don't cook

Van Dyck was overwhelmed with such orders. Every aristocrat longed to be captured by Van Dyck.

The result was like in a fairy tale, “Don’t cook the pot.”

The work was put on stream. The artist spent less than an hour a day with the customer. With his own hand, he depicted only the main thing, and everything else was painted by his students from invited models.

Or he wrote everything himself, but was in a hurry. Working on two or even five portraits at the same time. There was some negligence in the work.

But this did not deter customers. On the contrary, his thin layer of paint and quick strokes made the image more vibrant and vibrant. What his models actually liked.

Anthony Van Dyck. Portrait of Sir Anthony-George Digby. 1638 Dulwich Picture Gallery, UK. commons.wikimedia.org

Van Dyck's personal life

In England, Van Dyck had a lover, Margaret Lemon. She was his model. They had a relationship for more than one year.

But he decided to marry an aristocrat. Miss Lemon was in complete shock when she learned of her lover's engagement. She caused a scandal by trying to bite off the artist’s finger. So that he won't be able to write anymore. But fortunately she failed to do this.

Anthony Van Dyck. Margaret Lemon (portrait unfinished). 1639 Hampton Court Castle, UK. royalcollection.org.uk

The unfortunate woman had to come to terms with it. And at the age of 40, the artist married Mary Ruthven, the queen’s young lady-in-waiting. So he himself became an English aristocrat.

Anthony Van Dyck. Portrait of Maria Rusven, the artist's wife. 1639 Artchive.ru

Was it love? Or another vanity act? Unknown. In any case, family happiness did not last very long.

One day Van Dyck went to Paris, where he painted the galleries of the Louvre. There he became seriously ill. Returning home in December 1641, he died. He was only 42 years old.

He was buried on the day of the christening of his newborn daughter. Which at that time was only eight days old.

Why is Van Dyck so famous?

Van Dyck became the greatest portrait painter. Which in itself is phenomenal. Since there are few famous names in this genre. For one simple reason.

The portrait painter is forced to please the customer. And in such a vice, few people manage to bring something of their own. And even more so to influence the development of painting.

Van Dijk managed to do both. And the customers were happy. And he glorified his name for many generations to come. Because he raised the bar to the next level.

Now a self-respecting artist had no right to depict motionless dolls. From now on, character must be read in the eyes of every model. As the brilliant Van Dyck did.

About another outstanding artist Read the article about the Baroque era Similar

VAN DYCK, ANTHONIS (1599–1641) - famous Flemish painter, master of portraiture, mythological and religious painting, etching. His work occurred during the period when, after the division of the Netherlands into Holland and Flanders, the most large city Flanders Antwerp, the artist’s homeland, began to revive after the war. In art, the head and leader was Peter Paul Rubens, whose work, along with the work of Jacob Jordaens, Frans Snyders (1579–1657) and, of course, Van Dyck, determined the development of the Flemish school of painting in the second half of the 17th century.

In 1615–1616 Van Dyck opened his own workshop. His early works include his Self-Portrait (c. 1615, Vienna, Kunsthistorisches Museum), distinguished by grace and elegance. In 1618–1620 he created a cycle of 13 panels depicting Christ and the apostles: St. Simon (c. 1618, London, private collection), St. Matthew (c. 1618, London, private collection). The expressive faces of the apostles are painted in a free pictorial manner. Nowadays, a significant part of the boards from this cycle are scattered throughout museums around the world. In 1618, Van Dyck was accepted as a master into the Guild of Painters of St. Luke and, already having his own workshop, collaborated with Rubens, working as an assistant in his workshop.

From 1618 to 1620, Van Dyck created works on religious themes, often in several versions: Crowning with Thorns (1621, 1st Berlin version - not preserved; 2nd - Madrid, Prado); Kiss of Judas (c. 1618–1620, 1st version - Madrid, Prado; 2nd - Minneapolis, Institute of Arts); Carrying the Cross (c. 1617–1618, Antwerp, Sint-Pauluskerk); St. Martin and the Beggars (1620–1621, 1st version - Windsor Castle, Royal Collection; 2nd version - Zaventem, Church of San Martin), Martyrdom of St. Sebastian (1624–1625, Munich, Alte Pinakothek).

Anthony Van Dyck owes his fame to the portrait genre, which in the hierarchy of genres European painting occupied a low position. However, in Flanders by this time a tradition had already developed portrait art. Van Dyck painted hundreds of portraits, several self-portraits, and became one of the creators of the 17th century ceremonial portrait. In portraits of his contemporaries, he showed their intellectual, emotional world, spiritual life, living character of a person. In his early portraits, Van Dyck painted wealthy townspeople, artists with families. Theme of images of families and married couples, so common in the art of the Netherlands in the 16th century, was picked up by Van Dyck: Portrait of Frans Snyders with Margaret de Vos (c. 1621, Kassel, Picture gallery). In the famous Family portrait(1623, St. Petersburg, Hermitage) Van Dyck conveyed natural movements and gestures, seemingly random poses, lively glances directed at the viewer - he introduces all these innovations into the art of portraiture. TO famous portraits This period also includes the Portrait of Cornelius van der Geest (c. 1620, London, National Gallery), covered in subtle psychologism.

In 1920, on the initiative of the royal marshal Thomas Howerd, Earl of Arendelle (1585–1646), Van Dyck was invited to England as a court painter. Here he gets acquainted with the works High Renaissance. The artist repeatedly painted portraits of the earl and members of his family, the best of which is Portrait of the Earl of Arendelle with his grandson Lord Montervers (c. 1635, Arendelle Castle, Collection of the Duke of Norfolk).

Van Dyck, having spent about a year in England, makes a trip to Italy, where he visits a number of cities in Lady Arendelle's retinue. On the way to Italy, he stops at Antwetpen, where he paints several paintings, the most famous of which is the portrait of Rubens's wife, Portrait of Isabella Brandt (c. 1621, Washington, National Gallery of Art).

In Italy, where Van Dyck spent from 1621 to 1627, he studied the works Italian painting. Admiring the work of Titian, Tintoretto, Veronese (1528–1588), he makes sketches from nature and sketches of paintings famous artists, which made up the Italian album (London, British Museum) Van Dyck. Having settled in Genoa, he lived for a long time in Rome, Mantua, Venice, Turin, Florence, continuing to paint portraits. Among them is the emphatically ceremonial Portrait of Cardinal Guido Bentivoglio (1623, Florence, Pitti Gallery), combining external representation with the revelation of a rich inner life.

In 1624, Van Dyck received an invitation from the Viceroy of Sicily to visit Palermo, where he painted a generational Portrait of the Viceroy Emmanuel Philibert of Savoy (1624), as well as a large altar painting for the Palermo church of the Oratorio del Rosario Madonna of the Rosary (1624–1627) - the most large order, received by Van Dyck from the church during the Italian period.

Returning to Genoa, Van Dyck, already a famous, fashionable portrait painter, painted brilliant portrait paintings. He creates complex compositions of ceremonial portraits, in which the somewhat romanticized, majestic world of the aristocracy appears. He depicts those portrayed in full height against the background of luxurious palaces, open terraces, majestic landscapes, gives them proud poses and spectacular gestures. The splendor of their costumes with brilliantly detailed fabrics and flowing folds enhances the significance of the images. Portrait of the Marquise Helena Grimaldi Cattaneo with a black servant (1623, Washington, National Gallery of Art), Portrait of the Marquise Balbi (c. 1623, New York, Metropolitan Museum of Art), Portrait of Paola Adorno with her son (c. 1623, Washington, National Gallery of Art), group portrait Family Portrait Lomellini (1624–1626, Edinburgh, National Gallery of Scotland). At this time, he turns to the image of elderly people, marked by the stamp of a lived life: Portrait of a Senator and Portrait of a Senator's Wife (1622–1627, Berlin, State museums), as well as to the depiction of children, creating for the first time in the history of art the first ceremonial children's group portrait: Portrait of the children of the de Franchi family (1627, London, National Gallery).

In 1627 Van Dyck returned to Antwerp, where he stayed until 1632, taking over the inheritance after the death of his father. His popularity is enormous: he carries out orders for large altar paintings for the churches of Antwerp, Ghent, Courtrai, Melechen, portraits, paintings on mythological themes. For the Jesuit Church, Van Dyck painted a large altarpiece, The Vision of St. Augustine (1628, Antwerp, Church of St. Augustine), for the chapel of the Brotherhood of Bachelors in the Antwerp Jesuit Church - Our Lady and Child Jesus with St. Rosalia, Peter and Paul (1629, Vienna, Kunsthistorisches Museum), for the Dominican Church in Antwerp - Crucifixion with St. Dominic and St. Catherine of Siena (1629, Antwerp, Royal Museum fine arts). He creates many smaller paintings on religious themes: Vision of Our Lady to Blessed Hermann Joseph (1630, Vienna, Kunsthistorisches Museum), Our Lady with Partridges (early 1630s, St. Petersburg, Hermitage), painted for the Queen of England.

Among Van Dyck's portraits of this period, images of representatives of the ruling circles predominated, noble families, clergy, dignitaries, artists. He lovingly describes the details of costumes and jewelry, and at the same time his painting is very free: dynamic strokes, broad writing. He conveys brilliantly inner world portrayed, they are full of life, natural: Portrait of Jan van der Wouwer (1632, Moscow, Pushkin State Museum of Fine Arts), Portrait of Martin Reykart (1630, Madrid, Prado), Portrait of Maria Louise de Tassis (1628, Vaduz, Liechtenstein Collection).

From 1626 to 1633 he created a gallery graphic portraits outstanding contemporaries, called Iconography. For the etching series, he made preparatory drawings from life, some of the etchings were made by Van Dyck himself, some with the help of engravers. The portraits were divided into three groups: monarchs and generals (16 portraits), statesmen and philosophers (12 portraits), artists and collectors (52 portraits). Van Dyck made some drawings from life, others from portraits painted by himself or other artists. The iconography was published in 1632 in Antwerp. On title page included a self-portrait of Van Dyck. After his death, Martin van Emden, the engraver who printed these etchings, sold the original 80 boards. To these were added 15 more boards engraved by Van Dyck himself, as well as engravings by other artists, so that total number was brought to 100. This publication was published in 1645 and became known as “Centum Icones” (“One Hundred Images”). Iconography is not only an important historical document, but also has highly artistic value.

In 1632, at the invitation of King Charles I (1625–1649), whom Rubens called “the greatest lover of painting of all the sovereigns of the world,” Van Dyck traveled to England. There he receives the position of “chief painter in the service of their majesty,” a noble title and a gold chain.

In 1634, Van Dyck visited Antwerp, and then Brussels, in which he painted portraits of the nobility: Portrait of Cardinal-Infante Ferdinand (1634, Madrid, Prado), Equestrian portrait of Thomas, Prince of Savoy-Carignan (1634, Turin, Sabauda Gallery). He received a large commission to carry out a life-size group portrait of city echevins (municipal councilors) for the hall of the town hall. From the painting that was lost in 1695, only preparatory oil sketches have survived.

October 18, 1634 Guild of St. Luke of Antwerp recognized Van Dyck as the best among Flemish artists, awarding him highest award: He was elected dean emeritus and his name was entered in capital letters on the list of members of the guild.

Soon Van Dyck returned to England, where he spent the next 15 years.

He painted paintings on mythological themes: Rinaldo and Armida (1628, Baltimore, Art Gallery), Cupid and Psyche (1638, London, Hepton Court).

In England, the dominant genre of painting was portraiture, and Van Dyck's work in this genre in England was a significant event. The main customers were the king, members of his family, and court nobility. Van Dyck's masterpieces include the Equestrian Portrait of Charles I with the Lord de Saint Antown (1633, Buckingham Palace, Royal Collections). The ceremonial Portrait of Charles I on a Hunt (c. 1635, Paris, Louvre) stands out, showing the king in hunting costume, in an elegant pose against the backdrop of a landscape. Known so-called Triple portrait of the king (1635, Windsor Castle, Royal Collections), in which the king is shown from three angles, because was intended to be sent to Italy, to the workshop of Lorenzo Bernini (1598–1680), who was commissioned to create a bust of Charles I. After Bernini's bust (not preserved) was delivered to London in 1636 and caused a sensation at the English court, Queen Henrietta Maria also wished to have her own sculptural image. In total, Van Dyck painted the queen more than 20 times, but for this project he created three separate portraits of her, among which the most significant Portrait of Henrietta Maria with the dwarf Sir Geoffrey Hudson (1633, Washington, National Gallery of Art). But, apparently, they were never sent, and this idea was not brought to life. In 1635, Van Dyck received an order to paint a painting depicting the children of the king The Three Children of Charles I (1635, Turin, Sabauda Gallery), which was later sent to Turin, and is considered a masterpiece of child portraiture. In the same year, he repeated the painting, and two years later he created the painting Five Children of Charles I (1637, Windsor Castle, Royal Collections).

During this period, Van Dyck painted spectacular portraits of courtiers and created a portrait gallery of young English aristocrats: Prince Charles Stuart (1638, Windsor, Royal Collections), Princess Henrietta Maria and William of Orange (1641, Amsterdam, Rijksmuseum), Portrait of the Royal Children (1637, Windsor castle, Royal Collections), Portrait of Philip Wharton (1632, St. Petersburg, Hermitage), Portrait of Lords John and Bernard Stuart (c. 1638, Hampshire, Mountbatten Collection).

By the end of the 30s, he created excellent male portraits, magnificent in decision and psychological characteristics, strict and truthful: Portrait of Sir Arthur Goodwin (1639, Derbyshire, Collection of the Duke of Devonshire), Portrait of Sir Thomas Chaloner (c. 1640, St. Petersburg, Hermitage ).

Van Dyck painted about 900 canvases, a huge number for a man whose creative activity lasted about 20 years. He left a tremendous legacy, not only because he worked quickly and easily, but also because he used numerous assistants, artists from Flanders and England, who painted backgrounds, draperies, and used mannequins to paint clothes.

Van Dyck's work had a huge influence on the development of English and European portraiture. He was the founder of the English school of portraiture, the traditions of which will be preserved in art for centuries. Van Dyck's portraits showed people of different classes, different social levels, different in mental and intellectual make-up. An adherent of the traditions of Flemish realism, he was the creator of the official ceremonial portrait, including the aristocratic portrait, in which he showed a noble, sophisticated, refined person, and was also the creator of the intellectual portrait.