Page:Cyclopedia of painters and paintings - Volume I.djvu/483

 from 1835 in Munich, was for years a renowned contributor to the Fliegende Blätter, and in 1854 was appointed director of the Art School of Industry. Works: Fortification of Kehlheim, Convent Kitchen, Destroyed Village, At the City Wall of Erding (1857); Cashier's Room (1858); Writing Room (1860); In the Granary (1860); In the Studio (1861); Church Interior (1863); Delegation (1864); Burgomaster's Return Home (1868).—Allgem. d. Biogr., v. 508; Brockhaus, v. 686; Kunst-Chronik, ix. 464.

DYCK, ANTON VAN (Sir Antony Van-*dyck), born in Antwerp, March 22, 1599, died in London, Dec. 9, 1641. At ten years of age he was apprenticed by his father, Francis Van Dyck, linen draper, to Hendrik Van Balen, and at sixteen he entered the studio of Rubens as his pupil and assistant. Employed by this great master to prepare black and white drawings from his pictures for the use of the engravers who worked under his eye, and to make cartoons from his sketches, of which the history of Darius in the Liechtenstein Gallery at Vienna may be taken as an example, Van Dyck's talent developed with astonishing rapidity. The esteem in which Rubens held him showed itself in numerous acts of kindness, as in 1620, when he procured him a commission from the Jesuits to paint an altarpiece for their church; in 1621, when he presented him to the Countess of Arundel, through whom he obtained access to James I., whose portrait he painted at Windsor; and in the autumn of the same year, when he sent the Chevalier Varni with him to Italy, and gave him a horse for the journey. Van Dyck reached Rome in February, 1622, but it was not until the following year, after he had visited Florence, Bologna, Venice, and Mantua, that he took up his residence there, and made himself known by painting the admirable portrait of Cardinal Bentivoglio, now one of the gems of the Pitti Gallery. Its success, and Van Dyck's love of display, excited the jealousy of his brother artists, who made Rome so intolerable to him that he left it for Genoa in June, 1624, and remained there until the next year, when he returned home. At Antwerp he found enemies who decried him, and waited for commissions, until Rubens bought several of his pictures and set the tide running in his favour. To this time belong the Crucifixion, in the Church of Notre Dame at Termonde, the St. Sebastian, at Munich, and the portrait of the Archduchess Clare Eugenie, in the Gallery at Turin. After an unsuccessful visit to England (1627), where he failed to obtain presentation at court for want of favour with the Duke of Buckingham, Van Dyck lived for three years at Antwerp and Brussels, painting many religio-historical pictures and portraits, and etching ten admirable portraits of painters, which are yet unsurpassed. Meanwhile, one of his friends had given his Rinaldo and Armida to Charles I., who was so delighted with it that in 1630 he invited the painter to England. In April, 1632, Van Dyck obeyed the summons, and after he had been presented to the King by Sir Kenelm Digby, painted his portrait, that of the Queen, and the great picture of the Royal Family, now at Windsor. In July he was knighted, and appointed court painter, and in October, 1633, had a pension of £200 a year assigned to him. During the next nine years he painted 19 portraits of the King, 17 of the Queen, as well as many of their children, at a fixed price of £50 for half, and £100 for full-length figures. Living in a style of splendour far beyond his means, Van Dyck became more and more embarrassed as the troubles of Charles' reign thickened, until, in 1638, he presented his unpaid claims to the King, including his pension for the past five years, payment for many portraits, and for four cartoons prepared for tapestries