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    Van Dyke
    Van Dyke
    Van Dyke
    Ebook92 pages1 hour

    Van Dyke

    By Estelle M. Hurll

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    About this ebook

    A collection of 15 pictures (in black and white) with a portrait of the painter with Introduction and interpretation by Estelle Hurll.According to Wikipedia: "Sir Anthony van Dyck (22 March 1599 – 9 December 1641) was a Flemish Baroque artist who became the leading court painter in England. He is most famous for his portraits of Charles I of England and his family and court, painted with a relaxed elegance that was to be the dominant influence on English portrait-painting for the next 150 years. He also painted biblical and mythological subjects, displayed outstanding facility as a draftsman, and was an important innovator in watercolour and etching... Estelle May Hurll (1863–1924), a student of aesthetics, wrote a series of popular aesthetic analyses of art in the early twentieth century.Hurll was born 25 July 1863 in New Bedford, Massachusetts, daughter of Charles W. and Sarah Hurll. She attended Wellesley College, graduating in 1882. From 1884 to 1891 she taught ethics at Wellesley. Hurll received her A.M. from Wellesley in 1892. In earning her degree, Hurll wrote Wellesley's first master's thesis in philosophy under Mary Whiton Calkins; her thesis was titled "The Fundamental Reality of the Aesthetic." After earning her degree, Hurll engaged in a short career writing introductions and interpretations of art, but these activities ceased before she married John Chambers Hurll on 29 June 1908."

    LanguageEnglish
    PublisherSeltzer Books
    Release dateMar 1, 2018
    ISBN9781455431328
    Van Dyke

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      Book preview

      Van Dyke - Estelle M. Hurll

      PORTRAIT OF VAN DYCK, Prado Gallery, Madrid

      VAN DYCK - A COLLECTION OF FIFTEEN PICTURES AND A PORTRAIT OF THE PAINTER WITH INTRODUCTION AND INTERPRETATION BY ESTELLE M. HURLL

      published by Samizdat Express, Orange, CT, USA

      established in 1974, offering over 14,000 books

      Art books by Estelle Hurll:

      Michelangelo

      Child-Life in Art

      Correggio

      Greek Sculpture

      Landseer

      The Madonna

      Millet

      Raphael

      Rembrandt

      Reynolds

      Titian

      Tuscan Sculpture

      Van Dyke

      feedback welcome: [email protected]

      visit us at samizdat.com

      BOSTON AND NEW YORK

      HOUGHTON MIFFLIN COMPANY

      The Riverside Press Cambridge

      1902

      COPYRIGHT, 1902, BY HOUGHTON, MIFFLIN & CO.

      PREFACE

      INTRODUCTION

      I  PORTRAIT OF ANNA WAKE

      II  THE REST IN EGYPT

      III  THE SO-CALLED PORTRAIT OF RICHARDOT AND HIS SON

      IV  THE VISION OF ST. ANTHONY

      V MADAME ANDREAS COLYNS DE NOLE AND HER DAUGHTER

      VI  DÆDALUS AND ICARUS

      VII  PORTRAIT OF CHARLES I

      VIII  THE MADONNA OF ST. ROSALIA

      IX  CHARLES, PRINCE OF WALES (Detail of Children of Charles I.)

      X  ST. MARTIN DIVIDING HIS CLOAK WITH A BEGGAR

      XI  THE CRUCIFIXION

      XII  JAMES STUART, DUKE OF LENNOX AND AFTERWARDS OF RICHMOND

      XIII  CHRIST AND THE PARALYTIC

      XIV  PHILIP, LORD WHARTON

      XV  THE LAMENTATION OVER CHRIST

      XVI  PORTRAIT OF VAN DYCK

      PRONOUNCING VOCABULARY OF PROPER NAMES AND FOREIGN WORDS

      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.

      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 leading note of his style is distinction. His men are all noblemen, his women all great ladies, and his children all princes and princesses. The same qualities of dignity and impressiveness are carried into his best altar-pieces. Sentiment they have also in no insignificant degree.

      It is perhaps naming only another phase of distinction to say that his figures are usually characterized by repose. The sense of motion which so many of Reynolds's portraits convey is almost never expressed in Van Dyck's work, nor would it be consistent with his other qualities.

      The magic gift of charm none have understood better when the subject offered the proper inspiration. We see this well illustrated in many portraits of young noblemen, such as the Duke of Lennox and Richmond and Lord Wharton.

      Van Dyck's clever technique has preserved for us the many

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