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French school; second quarter of the 19th century."Portrait of a gentleman.Oil on canvas.It
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Description
French school; second quarter of the 19th century.
"Portrait of a gentleman.
Oil on canvas.
It conserves its original canvas.
Measurements: 51 x 40 cm; 70 x 60 cm (frame).
Portrait of a gentleman who appears before the spectator in profile, although he seems to direct his sight slightly in such a way that he links with the gaze of the one who observes the piece. The work is executed with a rapid, sometimes sketchy brushstroke, although the artist does not lose interest in capturing the details, giving great importance to the hair and features of the subject.
The work is clearly inspired by the portraits of Anton van Dyck, a key Flemish Baroque painter and one of the most important portraitists of the 17th century. The son of a cloth and silk merchant, which undoubtedly influenced his appreciation of textiles, Van Dyck began his training at the age of ten in the studio of Hendrick van Balen, who had spent several years in Italy and developed a markedly Italianate style. This period of Van Dyck's training coincided with Rubens' return from Italy, after which he produced a series of altarpieces for the churches of Antwerp, bringing with him a whole new visual language in its ambition, drama and colour, which fitted in well with the Counter-Reformation religiosity of the Spanish Netherlands. It is not surprising therefore that Van Balen's brilliant pupil soon joined the circle of Rubens. By 1620 Van Dyck was already his principal assistant, although he had his own independent studio in the city. During these years he devoted himself mainly to religious works and in 1620 he was invited to London to work for King James I. In February 1621 he was already in London. In February 1621 he returned to Antwerp and in October he left for Italy. During these months in his native city he began to emerge as a brilliant portraitist, with works such as the portrait of "Frans Snyders and his Wife" (Frick Collection, New York) and "Isabella Brant", the wife of Rubens (National Gallery, Washington). In Italy Van Dyck spent six years in Genoa, from where he visited Rome and Venice, always studying the works of earlier masters, particularly Venetians and especially Titian, whose influence would be evident throughout the rest of his career. He also visited Sicily, where he painted the portrait of the viceroy Manuel Filiberto of Savoy. In Genoa the Flemish artist became the most sought-after portraitist by the local aristocracy and in 1627 he returned to Antwerp with a solid reputation and was soon appointed painter to the Archduchess Isabella. However, he did not abandon religious painting, to which he devoted himself in particular between 1628 and 1630, during Rubens' absence from Antwerp. His religious works reveal characteristics typical of Counter-Reformation art, such as the profound religious sentiment and the reflection of the mystical fervour that pervaded the painter's own personality. In 1632 he moved to London again, this time at the request of King Charles I.
"Portrait of a gentleman.
Oil on canvas.
It conserves its original canvas.
Measurements: 51 x 40 cm; 70 x 60 cm (frame).
Portrait of a gentleman who appears before the spectator in profile, although he seems to direct his sight slightly in such a way that he links with the gaze of the one who observes the piece. The work is executed with a rapid, sometimes sketchy brushstroke, although the artist does not lose interest in capturing the details, giving great importance to the hair and features of the subject.
The work is clearly inspired by the portraits of Anton van Dyck, a key Flemish Baroque painter and one of the most important portraitists of the 17th century. The son of a cloth and silk merchant, which undoubtedly influenced his appreciation of textiles, Van Dyck began his training at the age of ten in the studio of Hendrick van Balen, who had spent several years in Italy and developed a markedly Italianate style. This period of Van Dyck's training coincided with Rubens' return from Italy, after which he produced a series of altarpieces for the churches of Antwerp, bringing with him a whole new visual language in its ambition, drama and colour, which fitted in well with the Counter-Reformation religiosity of the Spanish Netherlands. It is not surprising therefore that Van Balen's brilliant pupil soon joined the circle of Rubens. By 1620 Van Dyck was already his principal assistant, although he had his own independent studio in the city. During these years he devoted himself mainly to religious works and in 1620 he was invited to London to work for King James I. In February 1621 he was already in London. In February 1621 he returned to Antwerp and in October he left for Italy. During these months in his native city he began to emerge as a brilliant portraitist, with works such as the portrait of "Frans Snyders and his Wife" (Frick Collection, New York) and "Isabella Brant", the wife of Rubens (National Gallery, Washington). In Italy Van Dyck spent six years in Genoa, from where he visited Rome and Venice, always studying the works of earlier masters, particularly Venetians and especially Titian, whose influence would be evident throughout the rest of his career. He also visited Sicily, where he painted the portrait of the viceroy Manuel Filiberto of Savoy. In Genoa the Flemish artist became the most sought-after portraitist by the local aristocracy and in 1627 he returned to Antwerp with a solid reputation and was soon appointed painter to the Archduchess Isabella. However, he did not abandon religious painting, to which he devoted himself in particular between 1628 and 1630, during Rubens' absence from Antwerp. His religious works reveal characteristics typical of Counter-Reformation art, such as the profound religious sentiment and the reflection of the mystical fervour that pervaded the painter's own personality. In 1632 he moved to London again, this time at the request of King Charles I.
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French school; second quarter of the 19th century.
"Portrait of a gentleman.
Oil on canvas.
It conserves its original canvas.
Measurements: 51 x 40 cm; 70 x 60 cm (frame).
Portrait of a gentleman who appears before the spectator in profile, although he seems to direct his sight slightly in such a way that he links with the gaze of the one who observes the piece. The work is executed with a rapid, sometimes sketchy brushstroke, although the artist does not lose interest in capturing the details, giving great importance to the hair and features of the subject.
The work is clearly inspired by the portraits of Anton van Dyck, a key Flemish Baroque painter and one of the most important portraitists of the 17th century. The son of a cloth and silk merchant, which undoubtedly influenced his appreciation of textiles, Van Dyck began his training at the age of ten in the studio of Hendrick van Balen, who had spent several years in Italy and developed a markedly Italianate style. This period of Van Dyck's training coincided with Rubens' return from Italy, after which he produced a series of altarpieces for the churches of Antwerp, bringing with him a whole new visual language in its ambition, drama and colour, which fitted in well with the Counter-Reformation religiosity of the Spanish Netherlands. It is not surprising therefore that Van Balen's brilliant pupil soon joined the circle of Rubens. By 1620 Van Dyck was already his principal assistant, although he had his own independent studio in the city. During these years he devoted himself mainly to religious works and in 1620 he was invited to London to work for King James I. In February 1621 he was already in London. In February 1621 he returned to Antwerp and in October he left for Italy. During these months in his native city he began to emerge as a brilliant portraitist, with works such as the portrait of "Frans Snyders and his Wife" (Frick Collection, New York) and "Isabella Brant", the wife of Rubens (National Gallery, Washington). In Italy Van Dyck spent six years in Genoa, from where he visited Rome and Venice, always studying the works of earlier masters, particularly Venetians and especially Titian, whose influence would be evident throughout the rest of his career. He also visited Sicily, where he painted the portrait of the viceroy Manuel Filiberto of Savoy. In Genoa the Flemish artist became the most sought-after portraitist by the local aristocracy and in 1627 he returned to Antwerp with a solid reputation and was soon appointed painter to the Archduchess Isabella. However, he did not abandon religious painting, to which he devoted himself in particular between 1628 and 1630, during Rubens' absence from Antwerp. His religious works reveal characteristics typical of Counter-Reformation art, such as the profound religious sentiment and the reflection of the mystical fervour that pervaded the painter's own personality. In 1632 he moved to London again, this time at the request of King Charles I.
"Portrait of a gentleman.
Oil on canvas.
It conserves its original canvas.
Measurements: 51 x 40 cm; 70 x 60 cm (frame).
Portrait of a gentleman who appears before the spectator in profile, although he seems to direct his sight slightly in such a way that he links with the gaze of the one who observes the piece. The work is executed with a rapid, sometimes sketchy brushstroke, although the artist does not lose interest in capturing the details, giving great importance to the hair and features of the subject.
The work is clearly inspired by the portraits of Anton van Dyck, a key Flemish Baroque painter and one of the most important portraitists of the 17th century. The son of a cloth and silk merchant, which undoubtedly influenced his appreciation of textiles, Van Dyck began his training at the age of ten in the studio of Hendrick van Balen, who had spent several years in Italy and developed a markedly Italianate style. This period of Van Dyck's training coincided with Rubens' return from Italy, after which he produced a series of altarpieces for the churches of Antwerp, bringing with him a whole new visual language in its ambition, drama and colour, which fitted in well with the Counter-Reformation religiosity of the Spanish Netherlands. It is not surprising therefore that Van Balen's brilliant pupil soon joined the circle of Rubens. By 1620 Van Dyck was already his principal assistant, although he had his own independent studio in the city. During these years he devoted himself mainly to religious works and in 1620 he was invited to London to work for King James I. In February 1621 he was already in London. In February 1621 he returned to Antwerp and in October he left for Italy. During these months in his native city he began to emerge as a brilliant portraitist, with works such as the portrait of "Frans Snyders and his Wife" (Frick Collection, New York) and "Isabella Brant", the wife of Rubens (National Gallery, Washington). In Italy Van Dyck spent six years in Genoa, from where he visited Rome and Venice, always studying the works of earlier masters, particularly Venetians and especially Titian, whose influence would be evident throughout the rest of his career. He also visited Sicily, where he painted the portrait of the viceroy Manuel Filiberto of Savoy. In Genoa the Flemish artist became the most sought-after portraitist by the local aristocracy and in 1627 he returned to Antwerp with a solid reputation and was soon appointed painter to the Archduchess Isabella. However, he did not abandon religious painting, to which he devoted himself in particular between 1628 and 1630, during Rubens' absence from Antwerp. His religious works reveal characteristics typical of Counter-Reformation art, such as the profound religious sentiment and the reflection of the mystical fervour that pervaded the painter's own personality. In 1632 he moved to London again, this time at the request of King Charles I.
15th March - 19th and 20th Century Art
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