The first major examination of Anthony van Dyck's work as a portraitist and an essential resource on this aspect of his illustrious career This landmark volume is a comprehensive survey of the portrait drawings, paintings, and prints of Anthony van Dyck (1599-1641), one of the most celebrated portraitists of all time. His supremely elegant style and ability to convey a sense of a sitter's inner life made him a favored portraitist among high-ranking figures and royalty across Europe, as well as among his fellow artists and art enthusiasts. Showcasing the full range of Van Dyck's fascinating international career with more than 100 works, this catalogue celebrates the artist's versatility, inventiveness, and influential approach to portraiture. Works include preparatory drawings and oil sketches that shed light on Van Dyck's working process, prints that allowed his work to reach a wider audience, and grand painted portraits. Some of the masterpieces are drawn from the exceptional holdings of The Frick Collection, while other works are presented here for the first time. Also included are drawings by some of Van Dyck's contemporaries--including his teacher Peter Paul Rubens--that illuminate the lineage of his working method. With insightful contributions by a team of international scholars, this unparalleled study of Van Dyck offers a compelling case for the distinctiveness and importance of the artist's work.

Anthony Van Dyck (1599-1641) introduced a new type of costume in his portraits during his second English period (1632-1641), one that blurred the margins of fact and fancy. He used costume to forge a complex and memorable image of his English patrons, the Caroline courtiers, one that captured their ideals and yet had resonance for many years after his death. Van Dyck established new conventions for the representation of dress in portraits that held sway until the end of the seventeenth century. Later generations of English, Dutch, and French painters, used Van Dyck's innovations as a touchstone for a new manner of dressing sitters, one that was partially fictional, and much more casual and unbuttoned than had ever been represented before. This book shows that an understanding of dress can offer a new way of revealing the associations and ideals that a portait mayhave projected, and that the history of costume provides a unique set of tools with which to analyze the creativity and contributions of Van Dyck.

A dazzlingly original and ambitious book on the history of female self-portraiture by one of today's most well-respected art critics. Her story weaves in and out of time and place. She's Frida Kahlo, Loïs Mailou Jones and Amrita Sher-Gil en route to Mexico City, Paris or Bombay. She's Suzanne Valadon and Gwen John, craving city lights, the sea and solitude; she's Artemisia Gentileschi striding through the streets of Naples and Paula Modersohn-Becker in Worpswede. She's haunting museums in her paint-stained dress, scrutinising how El Greco or Titian or Van Dyck or Cézanne solved the problems that she too is facing. She's railing against her corsets, her chaperones, her husband and her brothers; she's hammering on doors, dreaming in her bedroom, working day and night in her studio. Despite the immense hurdles that have been placed in her way, she sits at her easel, picks up a mirror and paints a self-portrait because, as a subject, she is always available. Until the twentieth century, art history was, in the main, written by white men who tended to write about other white men. The idea that women in the West have always made art was rarely cited as a possibility. Yet they have - and, of course, continue to do so - often against tremendous odds, from laws and religion to the pressures of family and public disapproval. In The Mirror and the Palette, Jennifer Higgie introduces us to a cross-section of women artists who embody the fact that there is more than one way to understand our planet, more than one way to live in it and more than one way to make art about it. Spanning 500 years, biography and cultural history intertwine in a narrative packed with tales of rebellion, adventure, revolution, travel and tragedy enacted by women who turned their back on convention and lived lives of great resilience, creativity and bravery.

In the spring of 1624 the painter Anthony Van Dyck (1599 -1641) moved from Genoa to Palermo in Sicily. Soon after Van Dyck's arrival, plague struck Palermo and most of the population died. In the same year, the bones of Saint Rosalia were discovered in a cave on the Monte Pellegrino where she was said to have died as a hermit in the Middle Ages. This will be the first exhibition to focus on Van Dyck's work during this period. The exhibition takes Dulwich's own Portrait of Emanuele Filiberto as a starting point and expands into an examination of Van Dyck's activity in that year. It will also be the first time in the UK that Van Dyck's portrait of the Viceroy of Sicily from Dulwich's own collection will be seen next to the spectacular suit of armour worn by the viceroy in the portrait - still surviving in the Royal Armouries of Madrid--Provided by publisher

The most prominent Flemish Baroque artist of the seventeenth century, Anthony van Dyck was a prolific painter of portraits of European aristocracy, most notably for Charles I and his family. He also executed religious and mythological works and was a fine draftsman and etcher. Along with his contemporary Diego Velázquez, van Dyck revolutionised the genre of portraiture, elevating its status in the arts. Through his evolution of style, the Fleming master would become the dominant influence on English portrait-painting for the next 150 years. Delphi’s Masters of Art Series presents the world’s first digital e-Art books, allowing readers to explore the works of great artists in comprehensive detail. This volume presents van Dyck’s complete paintings in beautiful detail, with concise introductions, hundreds of high quality images and the usual Delphi bonus material. (Version 1) * The complete paintings of Anthony van Dyck – over 600 paintings, fully indexed and arranged in chronological and alphabetical order * Includes reproductions of rare works * Features a special ‘Highlights’ section, with concise introductions to the masterpieces, giving valuable contextual information * Enlarged ‘Detail’ images, allowing you to explore van Dyck’s celebrated works in detail, as featured in traditional art books * Hundreds of images in colour – highly recommended for viewing on tablets and smart phones or as a valuable reference tool on more conventional eReaders * Special chronological and alphabetical contents tables for the paintings * Easily locate the paintings you wish to view * Features three bonus biographies – discover van Dyck's artistic and personal life Please visit www.delphiclassics.com to browse through our range of exciting e-Art books CONTENTS: The Highlights Christ Crowned with Thorns The Betrayal of Christ Portrait of Susanna Fourment and her Daughter Clara Susanna and the Elders Portrait of Isabella Brant Portrait of Elena Grimaldi The Three Ages of Man Saint Rosalia Interceding for the Plague-Stricken of Palermo Rinaldo and Armida Portrait of Nicholas Lanier Charles I with M. de Saint Antoine Portrait of the Earl of Pembroke and his Family Charles I at the Hunt Portrait of James Stuart, Duke of Lennox and Richmond Charles I in Three Positions Portrait of the Children of Charles I Portrait of the Earl of Denbigh Cupid and Psyche The Paintings The Complete Paintings Alphabetical List of Paintings The Biographies Sir Anthony van Dyck by Henri Simon Hymans Sir Anthony van Dyck by Lionel Henry Cust Van Dyck by Percy M. Turner Please visit www.delphiclassics.com to browse through our range of exciting titles or to buy the whole Art series as a Super Set

Drawings played a crucial role in the artistic practices of the three great giants of Flemish Baroque art, Peter Paul Rubens (1577-1640), Anthony van Dyck (1599-1641), and Jacob Jordaens (1593-1678). Accompanying an exhibition featuring the most spectacular drawings by them in the collection of the Morgan Library & Museum in New York, *Power and Grace* demonstrates just how differently drawings functioned in the oeuvres of these artists as well as highlights the distinctive features of their graphic styles and the impact they had on each other. The Morgan is particularly well suited to tell this story, for its holdings of Rubens, Van Dyck, and Jordaens drawings are unparalleled in the United States.

In the seventeenth century, many young artists from the north and south of the Netherlands gained experience in Rome. However, that Flemish artists in Genoa contributed to lively artistic exchange and trade is less known. In this book the author Alison Johnston Stoesser throws new light on their activities during that day and age, particularly on those of the brothers Lucas and Cornelis de Wael. As artists and dealers, the brothers had connections with many key figures in the Flemish and Genoese art world, including the painter Anthony Van Dyck. For forty years Cornelis, the youngest brother, enjoyed great successes with his paintings of everyday scenes, fairs, and field and naval battles. In addition, the brothers sold the works of other artists as well as many other objects of devotion.

Published to accompany the exhibition held at Tate Britain, London, 18 Feb.-17 May 2009.

A collection of essays by twelve scholars and museum curators examining the allure of Flemish painting to Americans over the past centuries, chronicling the roles played by determined individuals in forming private and public collections.