van Dyck, Anthony, Alvaro de Bazan, c. 1645
Anthony van Dyck, Grabado, Alvaro de Bazan, c. 1645
|Artista:||van Dyck, Anthony (1599 - 1641)|
|Título:||Alvaro de Bazan, c. 1645|
|Dimensiones del Ilustración:||9 1/4 in x 6 1/2 in (23.5 cm x 16.5 cm)|
|Dimensiones del Papel:||9 1/4 in x 6 1/2 in (23.5 cm x 16.5 cm)|
|Dimensiones del Marco:||approx. 23 in x 20 in (58.4 cm x 50.8 cm)|
|Firmado:||Signed in the plate 'Ant. van Dyck pinxit' in the lower center; also signed 'Paul Pontius fculp' in the lower left.|
|Edición:||A Mauquoy-Hendrickx State V (of V) engraved by Paulus Pontius (Antwerp, 1603 - Antwerp, 1658) in collaboration with Anthony van Dyck (Antwerp, 1559 - London, 1641).|
|Condición:||This work is in very good condition; backed on a thick wove paper and trimmed along the plate mark; unidentified writing on backing paper in pencil.|
Part of Van Dyck's "Iconographie" series, this portrait truly captures the essence of its subject. As a Spanish admiral and the Marquis of Santa Cruz, de Bazan appears in armor, helmet in hand, his face somewhat weathered from the trials of many battles fought.
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|A wonderfully detailed and charismatic portrait, this exquisite work illustrates
the technical mastery and artistic vision of Van Dyck. Alvaro de Bazan's stately
yet approachable expression reflects Van Dyck's refined ability to comfort and
relax his subjects, resulting in a realistic and acute portrait. De Bazan was
a Spanish admiral and the Marquis of Santa Cruz. His father was the commander-in-chief
of the Spanish naval forces in the Mediterranean and taught him from an early
age how to command the navy. De Bazan is credited with having the first definite
suggestion of the Spanish Armada upon recognizing England's threat to the Spanish
Empire. He was a strong proponent of war, but never lived to see his dream of
an impressive fleet carried out due to procrastinations on the part of his king.
Van Dyck depicts de Bazan in armor, with his helmet in hand. He appears somewhat
weary and aged, with a weathered face, perhaps the result of the stress and
wear of war and command.
This portrait is a Mauquoy-Hendrickx State V (of V) engraved by Paulus Pontius (Antwerp, 1603 - Antwerp, 1658) in collaboration with Anthony van Dyck (Antwerp, 1559 - London, 1641) as part of his Iconographie series of engraved portraits of famous people at the time. The plate has been marked in the lower left of the plate "Paul Pontius fculp." Also marked "Cum privilegio" in the lower right of the plate and "Ant. Van Dyck pinxit" in the lower center. Beneath the engraved portrait is the inscription: EXCELL. MVS D. DON. ALVAR. BAZAN. MARCH. DE. S.TA CRVC. CATH | MA. A. STAT. CONSIL. ET. CVBICVL. OCEAN. QVACVNQ. HISP. MONARCH. DOMI | PROPRÆF REGIOR. ARM. PER. BELG. GVBERN.
DOCUMENTED AND ILLUSTRATED IN:
1) Mauquoy-Hendrickx. L'Iconographie d'Antoine Van Dyck: Catalogue Raisonne
I. Bruxelles: Bibliotheque Royale Albert I, 1991. Listed as catalogue no. 43
on pg. 133.
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Anthony van Dyck biografía
Sir Anthony van Dyck was a Flemish painter who was one of the most important and prolific portraitists of the 17th century. He is also considered to be one of the most brilliant colorists in the history of art.
Van Dyck was born on March 22, 1599, in Antwerp, son of a rich silk merchant, and his precocious artistic talent was already obvious at age 11, when he was apprenticed to the Flemish historical painter Hendrik van Balen. He was admitted to the Antwerp guild of painters in 1618, before his 19th birthday. He spent the next two years as a member of the workshop of the Flemish painter Peter Paul Rubens in Antwerp. Van Dyck's work during this period is in the lush, exuberant style of Rubens, and several paintings attributed to Rubens have since been ascribed to van Dyck.
From 1620 to 1627 van Dyck traveled in Italy, where he was in great demand as a portraitist and where he developed his maturing style. He toned down the Flemish robustness of his early work to concentrate on a more dignified, elegant manner. In his portraits of Italian aristocrats—men on prancing horses, ladies in black gowns—he created idealized figures with proud, erect stances, slender figures, and the famous expressive “van Dyck” hands. Influenced by the great Venetian painters Titian, Paolo Veronese, and Giovanni Bellini, he adopted colors of great richness and jewel-like purity. No other painter of the age surpassed van Dyck at portraying the shimmering whites of satin, the smooth blues of silk, or the rich crimsons of velvet. He was the quintessential painter of aristocracy, and was particularly successful in Genoa. There he showed himself capable of creating brilliantly accurate likenesses of his subjects, while he also developed a repertoire of portrait types that served him well in his later work at the court of Charles I of England.
Back in Antwerp from 1627 to 1632, van Dyck worked as a portraitist and a painter of church pictures. In 1632 he settled in London as chief court painter to King Charles I, who knighted him shortly after his arrival. Van Dyck painted most of the English aristocracy of the time, and his style became lighter and more luminous, with thinner paint and more sparkling highlights in gold and silver. At the same time, his portraits occasionally showed a certain hastiness or superficiality as he hurried to satisfy his flood of commissions. In 1635 van Dyck painted his masterpiece, Charles I in Hunting Dress (Louvre, Paris), a standing figure emphasizing the haughty grace of the monarch.
Van Dyck was one of the most influential 17th-century painters. He set a new style for Flemish art and founded the English school of painting; the portraitists Sir Joshua Reynolds and Thomas Gainsborough of that school were his artistic heirs. He died in London on December 9, 1641.