Anthony van Dyck (22/03/1599 – 12/09/1641), Flemish painter. The son of a wealthy cloth merchant. From 1609 he studied at the X. Van Valin, in 1615-16 had already had his own studio, where together with other young artists made a series of "heads of the Apostles. Since his early years, Van Dyke turned to portrait painting (portrait Ya Vermelho, 1616, Gos. Museum, Vaduz). He wrote as paintings on religious and mythological themes (The Crucifixion of St. Peter ", ca. 1615 – 1617, The Museum of Ancient Art, Brussels," Jupiter and Antiope ", ca. 1617-18, Museum of Fine Arts, Ghent). Around 1618-20 he worked as an assistant to P. Rubens, was strongly influenced by his full, lush beautiful manners. Varying elaborated Rubens images and techniques, van Dijk at the same time attached to the heroes of his paintings more elegant, sometimes individualized appearance ("John the Baptist and John the Evangelist", 1618, Art gal., Berlin-Dahlem). In late 1620 – early 1621 Van Dyke worked at the court of King James I, and then returned to Antwerp. The works of this period (portrait F. Snyders and his wife, Picture Gallery, Kassel, St Martin, Church of Saint-Martin, Zaventem) defined the artist's desire to spiritualized grace and generosity, his sensitivity to the unique features of the emotional and intellectual life . Since the end of 1621 Van Dyke lived in Italy (ch. arr. In Genoa). At that time, he develops and perfects the type of ceremonial portrait Baroque, in which the active role played by attitude, posture and gesture of man (portrait of Cardinal Bentivoglio G., ca. 1623, Palazzo Pitti, Florence). Understanding the achievements of the Venetian school with color impact in the gallery of brilliant portraits of Genoese nobility, the splendor of striking compositions, the beauty of deep, dark tones, the solemnity of the background and accessories (paired portraits – the old Genoese and his wife, Arts gal., Berlin-Dahlem, Marques AJ . Brignole-Sale and his wife Paolini Adorno, Gal. Palazzo Rosso, Genoa; portrait of a lady with a girl, The Museum of Ancient Art, Brussels). At the same time, van Dijk has created acute evocative images of people of high intelligence and creative talent (the portrait of the sculptor F. Duquesnoy, ok. 1622, The Museum of Ancient Art, Brussels, male portrait, ca. 1623, Hermitage Leningrad). Since late 1627 until 1632 Van Dyke again lived in Antwerp, in 1630 became court painter Archduchess Isabella. This period of higher creative impulse van Dyck, when he managed in the state portraits of the most organically combine the individual psychological characteristics with a solemn representativeness of the image (portrait of Maria Luisa de Tassis, Gal. Liechtenstein, Vienna), and intimate portraits (AP Snayersa painter, Alte Pinakothek , Munich; series of etchings "The Iconography") to reveal the richness of the spiritual life of their contemporaries. More uniform, although sometimes very effective, religious and mythological figures (the Madonna del Rosario ", launched in 1624, Oratorio del Rosario, Palermo; Rest on Flight into Egypt, con. 1620's., Alte Pinakothek, Munich) . In 1632 Van Dyck worked in London as a court painter of Charles I, executed numerous portraits of the king (Charles I, on the hunt, ca. 1635, Louvre, Paris), his family ("Children of Charles I", 1637, Windsor Castle) and the nobility (portraits F. Wharton, Nat. gal. Art, Washington, J. Stewart, the Metropolitan Museum, New York), he stressed sophistication poses and colorful harmonies, aristocratic English nobility, understood as a manifestation of a refined spiritual culture. In recent work van Dijk grace and elegance become obsessive, self-contained reception characteristics, and in the color appear dry and diversity; grand aristocratic portrait comes to conventional and impersonal standard, which soon began to reign in court art in many countries. Lit.: Lisenkov EG, Van Dyck, L., 1926, [Smolskaya NF], Anthony van Dyck, M.-L., 1963; Gliick G., Anto-nis van Dyck. Des Meisters Gemalde, 2 Aufl., Stuttg. – V., 1931; Puyvelde L. van, Van Dyck, Brux. – Amst., 1950.
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