Flemish Baroque Era Painter, 1599-1641 Flemish painter and draughtsman, active also in Italy and England. He was the leading Flemish painter after Rubens in the first half of the 17th century and in the 18th century was often considered no less than his match. A number of van Dyck's studies in oil of characterful heads were included in Rubens's estate inventory in 1640, where they were distinguished neither in quality nor in purpose from those stocked by the older master. Although frustrated as a designer of tapestry and, with an almost solitary exception, as a deviser of palatial decoration, van Dyck succeeded brilliantly as an etcher. He was also skilled at organizing reproductive engravers in Antwerp to publish his works, in particular The Iconography (c. 1632-44), comprising scores of contemporary etched and engraved portraits, eventually numbering 100, by which election he revived the Renaissance tradition of promoting images of uomini illustri. His fame as a portrait painter in the cities of the southern Netherlands, as well as in London, Genoa, Rome and Palermo, has never been outshone;   Related Paintings of DYCK, Sir Anthony Van :. | Self-Portrait dfgjmnh | Isabella Brandt dfhjj | Self Portrait (detail) 12f | Portrait of a Gentleman sdf | Marchesa Elena Grimaldi fg |
Related Artists:
Biljert, Jan Hermansz. van
Dutch, approx. 1597-1671
Evert Collier
(c. 1640 - few days before September 8, 1708) was a Dutch painter known for vanitas still-life and trompe l'oeil paintings. His first name is sometimes spelled "Edward" or "Edwaert" or "Eduwaert" or "Edwart," and his last name is sometimes spelled "Colyer" or "Kollier". Evert Collier was born between 1630 and 1650 in Breda, Noord-Brabant, and died in 1708. He is believed to have trained in Haarlem, as his earliest paintings show the influence of Pieter Claesz and Vincent Laurensz van der Vinne. By 1667, he had moved to Leiden, where he became a member of the Guild of St. Luke in 1673. He moved to Amsterdam by 1686 and to London in 1693. He was buried September 8, 1708 at St. James's, Piccadilly.
COPLEY, John Singleton
American Colonial Era Painter, 1738-1815 American portrait painter, b. Boston. Copley is considered the greatest of the American old masters. He studied with his stepfather, Peter Pelham, and undoubtedly frequented the studios of Smibert and Feke. At 20 he was already a successful portrait painter with a mature style remarkable for its brilliance, clarity, and forthright characterization. In 1766 his Boy with the Squirrel was exhibited in London and won the admiration of Benjamin West, who urged him to come to England. However, he remained in America for eight years longer and worked in New York City and Philadelphia as well as in Boston. In 1774 Copley visited Italy and then settled in London, where he spent the remainder of his life, enjoying many honors and the patronage of a distinguished clientele. In England his style gained in subtlety and polish but lost most of the vigor and individuality of his early work. He continued to paint portraits but enlarged his repertoire to include the enormous historical paintings that constituted the chief basis of his fame abroad. His large historical painting The Death of Lord Chatham (Tate Gall., London) gained him admittance to the Royal Academy. His rendering of a contemporary disaster, Brook Watson and the Shark (Mus. of Fine Arts, Boston), stands as a unique forerunner of romantic horror painting. Today Copley's reputation rests largely upon his early American portraits, which are treasured not only for their splendid pictorial qualities but also as the most powerful graphic record of their time and place. Portraits such as those of Nicholas Boylston and Mrs. Thomas Boylston (Harvard), Daniel Hubbard (Art Inst., Chicago), Governor Mifflin and Mrs. Mifflin (Historical Society of Pennsylvania, Philadelphia), and Paul Revere (Mus. of Fine Arts, Boston) are priceless documents in which the life of a whole society seems mirrored.