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    Van Dyck A Collection Of Fifteen Pictures And A Portrait Of The Painter With Introduction And Interpretation
    Van Dyck A Collection Of Fifteen Pictures And A Portrait Of The Painter With Introduction And Interpretation
    Van Dyck A Collection Of Fifteen Pictures And A Portrait Of The Painter With Introduction And Interpretation
    Ebook155 pages1 hour

    Van Dyck A Collection Of Fifteen Pictures And A Portrait Of The Painter With Introduction And Interpretation

    By Estelle M. (Estelle May) Hurll

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    Read preview
    LanguageEnglish
    PublisherArchive Classics
    Release dateNov 27, 2013
    Van Dyck A Collection Of Fifteen Pictures And A Portrait Of The Painter With Introduction And Interpretation

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      Book preview

      Van Dyck A Collection Of Fifteen Pictures And A Portrait Of The Painter With Introduction And Interpretation - Estelle M. (Estelle May) Hurll

      The Project Gutenberg EBook of Van Dyck, by Estelle M. Hurll

      This eBook is for the use of anyone anywhere at no cost and with

      almost no restrictions whatsoever. You may copy it, give it away or

      re-use it under the terms of the Project Gutenberg License included

      with this eBook or online at www.gutenberg.org

      Title: Van Dyck

      A Collection Of Fifteen Pictures And A Portrait Of The

      Painter With Introduction And Interpretation

      Author: Estelle M. Hurll

      Release Date: October 18, 2006 [EBook #19570]

      Language: English

      *** START OF THIS PROJECT GUTENBERG EBOOK VAN DYCK ***

      Produced by Juliet Sutherland, Sankar Viswanathan, and the

      Online Distributed Proofreading Team at http://www.pgdp.net

      Transcriber's Note.

      The images in this eBook of the paintings are from the original book. However many of these paintings have undergone extensive restoration. The restored paintings are presented as modern color images with links.

      PORTRAIT OF VAN DYCK

      Prado Gallery, Madrid

      Please click on the image for a larger image.

      Masterpieces of Art

      VAN DYCK

      A COLLECTION OF FIFTEEN PICTURES

      AND A PORTRAIT OF THE PAINTER

      WITH INTRODUCTION AND

      INTERPRETATION

      BY

      ESTELLE M. HURLL

      BOSTON AND NEW YORK

      HOUGHTON MIFFLIN COMPANY

      The Riverside Press Cambridge

      1902

      COPYRIGHT, 1902, BY HOUGHTON, MIFFLIN & CO.

      PREFACE

      The fame of Van Dyck's portraits has so far over-shadowed that of his other works that his sacred pictures are for the most part unfamiliar to the general public. The illustrations for this little book are equally divided between portraits and subject-pieces, and it is hoped that the selection may give the reader some adequate notion of the scope of the painter's art.

      ESTELLE M. HURLL.

      New Bedford, Mass.,

      March, 1902.

      CONTENTS AND LIST OF PICTURES

      INTRODUCTION

      I. ON VAN DYCK'S CHARACTER AS AN ARTIST.

      The student of Van Dyck's art naturally classifies the painter's works into four groups, corresponding chronologically to the four successive periods of his life. There was first the short period of his youth in Antwerp, when Rubens was the dominating influence upon his work. The portrait of Van der Geest, in the National Gallery, belongs to this time.

      Then followed the four years' residence in Italy, when he fell under the spell of Titian. This was the period of the series of splendid portraits of noble Italian families which are to this day the pride of Genoa. Here too belong those lovely Madonna pictures which brought back for a time the golden age of Venetian art.

      Upon his return to Antwerp, the six succeeding years gave him the opportunity to work out his own individuality. Some noble altar-pieces were produced in these years. Pleasant reminiscences of Titian still appear in such work, as in the often-used motif of baby angels; but in the subjects of the Crucifixion and the Pietà, he stands quite apart. These works are distinctly his own, and show genuine dramatic power.

      During this Flemish period Van Dyck was appointed court painter by the Archduchess Isabella Clara Eugenia, Spanish Regent of the Netherlands. In this capacity he painted a notable series of portraits, including some of his most interesting works, which represent many of the most distinguished personages of the time.

      The last nine years of Van Dyck's life were passed in England, where the family of Charles I. and the brilliant group of persons forming his court were the subjects of his final series of portraits. There were no altar-pieces in this period. At the beginning of his English work Van Dyck produced certain portraits unsurpassed during his whole life. The well-known Charles I., with an equerry, in the Louvre, is perhaps the best of these. His works after this were uneven in quality. His vitality was drained by social dissipations, and he lost the ambition to grow. Some features of the portraits became stereotyped, especially the hands. Yet from time to time he rose to a high level.

      A painter so easily moulded by his environment cannot justly take rank among the world's foremost masters. A great creative mind Van Dyck certainly had not, but, gifted assimilator that he was, he developed many delightful qualities of his art. The combined results of his borrowing and his own innate gifts make him a notable and indeed a beloved figure in art history.

      The

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