An artist and his drawing Van Dyck
Sir Anthony van Dyck was born in 1599 in Antwerp. He became a master in thepainters' guild of that city, the prerequisite for working as aprofessional artist, in 1618 (although he had set up a studio of his owntwo years before), and shortly afterward entered the workshop of Sir PeterPaul Rubens, the greatest Flemish painter of the age. He spent two yearsworking with Rubens, and although he cannot strictly be regarded asRubens's pupil he was profoundly influenced by him. In 1620 Van Dyck wentto London and then in 1621 to Italy, where he refined his style and beganthe series of elegant 'Baroque' portraits of aristocratic subjects forwhich he would become famous. By the late 1620s he was a famous and wealthyartist. From 1628 to 1632 he was working in Antwerp, where he began topaint many works for the Church, and from 1632 until his death he was inEngland as painter to King Charles I and his Court (Blake, 13ff; Lawson, Van Dyck is best known today for his painting, and above all hisportraiture, but he also produced a substantial body of drawings during hiscareer. These were produced for different reasons: as working drawings, inpreparation for paintings; as aides-memoires of work he had see
For Jones, a designer and architect, this is one ofthe tools of his trade, which is also implied by the architectural framewithin which he stands, simply sketched in as it is. In front of him is the edge of some form ofstone partition or balustrade. What is depicted on this sheet is unclear; engravings basedupon this picture, and Van Dyck's own oil portrait of Jones, leave itblank. The drawings from this period show Van Dyckexperimenting with combining these two influences, and as such are a seed-bed from which the distinctive style of his paintings, particularly hisportraiture, will develop. His 'Studies for a Painting of theCrucifixion' of c. It is acarefully composed balance of energy and solidity, expressive both of theintellectual virtue of rational harmony and the sentimental appeal of humancharacter and interest, both restless and energetic, simultaneouslyconveying the delicacy and the robustness of the sitter. Van Dyck painted a portraitin oils, now in the Hermitage, St Petersburg, of the architect andtheatrical designer Inigo Jones some time between 1632 and 1636. Such a description suggest polish and refinement, and certainly VanDyck used drawing to refine the compositions that would ultimately befinished as portraits in the grand manner, but it is important not to losesight of the combination of energy, spontaneity, and sober gravity thatinforms many of his drawings. It is as a portraitist that Van Dyck is best known by posterity, andit is to a portrait drawing that we now turn. The centerline ofthe head parallels the edges of the paper, giving structure to the centralportion of the picture and perhaps implying the connection betweenintellect and action in the profession of the architect. It demonstrates superbly well Van Dyck's skill as a portraitistand a master of the skills of monocolor drawing. The pointof his right elbow, resting on the left edge of the picture, ishorizontally aligned with this same center point. In this sense the drawings can be said to be a less mediated,more direct window into Van Dyck's vision as an artist. Behind him is a curtain or other drapery.
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Acceptance Essays
