Van Dyck

“ Two minutes later the launch was nosing the white sand of the beach, and the man at the tiller made motions for us to get out. Van Dyck stepped ashore and I followed him. A few yards away, at the edge of the jungle thicketing, our cabin castaways were huddled around a great pile of luggage and ship's stores. Their greeting of Van Dyck when he joined them was all that his most vindictive accuser could have desired; cries and reproaches, eager questionings and sobbing protests from the women; and from the men a fierce storm of demandings led by the major and Holly Barclay. ”

“ Van Dyck's portraits were designed to suit great houses. In a small room, which a portrait by Holbein would have decorated nobly, a canvas by Van Dyck would have been overpowering. In spite of the fact that the expressions on the faces are often intimate and appealing, domesticity is not the mark of his art. In Van Dyck's picture of our 'heir of fame,' the white linen, the yellow satin, and the armour please us as befitting the lovely face. There is a glimmer of light on the armour, but you see how different is Van Dyck's treatment of it from Rembrandt's. ”

“ Van Dyck certainly owed something of the charm of his pictures to the dress of the period, with regard to which he received this credit that 'Van Dyck was the first painter who e'er put ladies' dress into a careless romance.' But in reality never was costume better suited for a painter like Van Dyck. The hair in the men was allowed to flow to the shoulders or gathered in a love knot, while the whiskers and beard formed a point. In the women the hair was crisped in curls round the face. The ruff in men and women had yielded to the broad, rich, falling collar, with deep scallops of point lace. ”

“ XVI PORTRAIT OF VAN DYCK
The painter Van Dyck was the son of a rich merchant of Antwerp, and lacked no opportunities for the training of his artistic gifts. He was fortunate also in meeting ready appreciation wherever he went. In Italy, in Flanders, and finally in England, his paintings were highly valued. His life was passed amid luxurious surroundings, in the society of noblemen and princes. His was a brilliant and successful career. ”

“ It is infinitely more pleasant to gaze on a crucifixion, or some other sacred subject, from the pencil of Van Dyck, than to examine the more brilliant but soulless treatment of similar works by his master. As a portrait painter Van Dyck occupies with Titian and Velasquez the first place. In fertility and production he was equal to Rubens, if we remember that his artistic life was very brief, and that he died at the age of forty-two. He lacked the inexhaustible invention which distinguishes his teacher, and generally confined himself to painting a “Dead Christ” or a “Mater Dolorosa.” ”

“ The plague drove Van Dyck from Italy back to Flanders, where he painted for a time, and presented his picture of the 'Crucifixion' to the Dominicans as a memorial gift in honour of his father, but in Flanders Rubens' fame overshadowed that of every other painter, and Van Dyck, recalling an invitation which he had received from the Countess of Arundel while still in Italy, came a second time to England, in 1630, when he was about thirty years of age, and lodged again with a fellow-countryman and painter named Gildorp. ”

“ Van Dyck spent five years in Italy, visiting Venice, Florence, Rome, and Palermo, but residing principally at Genoa. In Italy, he began to indulge in his love of splendid extravagance, and in the fastidious fickleness which belonged to the evil side of his character. At Rome he was called 'the cavalier painter,' yet his first complaint on his return to Antwerp was, that he could not live on the profits of his painting! ”

“ There can be no doubt as to the model having been Margaret Lemon, a celebrated beauty, whose portrait was engraved by W. Hollar and J. Morin and painted by Van Dyck at Hampton Court. “She was,” says Mr Ernest Law, in his excellent catalogue of this gallery, “the most beautiful and celebrated, though far from being the only mistress of Van Dyck. The great artist, in fact, loved beauty in every form, and found the seduction of female charms altogether irresistible. She lived with him at his house at Blackfriars.” The precise date of Van Dyck’s marriage has not been ascertained. ”

“ This proof of Van Dyck’s personal reputation is fully confirmed (17th July) by a correspondent of the earl of Arundel, who speaks of Van Dyck as a young man of one-and-twenty whose works are scarcely less esteemed than those of his master, and adds that, his relations being people of considerable wealth, he could hardly be expected to leave his home. Van Dyck was, however, thus persuaded, for on 28th November Sir Toby Mathew mentions the artist’s departure to Sir Dudley Carleton, adding that he is in receipt of an annual pension of £100 from the king. ”

“ As a new feature we observe a kind of elegance, not entirely free from mannerism, which is often conspicuous with Van Dyck even when the technical excellence commands our warmest admiration. Inspiration, as Waagen observes, was far more limited with Van Dyck than with Rubens. His truly delicate nature led him to restrain his conceptions within the bounds of an academic evenness, generally more pleasing to the uninitiated than the strength of expression which sometimes imparts a sort of violence to the works of Rubens. ”

“ I was still warm, both over the bootless little tussle with Lequat, and because Van Dyck had so ignominiously failed to rise to the occasion—and was still continuing to fail.
"What's the use?" he queried. "We are like the harmless and inoffensive citizen who wakes up in the middle of the night to find a burglar's spot-light shining in his eyes and the burglar's gun shoved in his face. ”

“ With the exception of a short visit to Antwerp at the time of his father’s death in 1622, Van Dyck spent the next five years in Italy. No master from beyond the Alps ever took up a higher position than Van Dyck among the most celebrated representatives of Italian art. ”

“ Everybody is made to pose before posterity; each sitter has the smile to give his or her descendants the most exalted idea of his or her station and manners. Not one is vulgar, not one dares to show himself in his ordinary work, or in the careless good nature of daily life. Nothing alters their immutable serenity; nothing troubles the unalterable placidity of their physiognomy. Let others paint the people of taverns, the world of kermesses and peasants! Van Dyck wished to be and to live for ever the painter of aristocracy. ”

“ The agent secured several copies of Van Dyck's work, and went back to England, telling of all that Rubens had told him, with a little additional coloring washed in by his own warm imagination.
To discover a genius is next to being one yourself. Lord Arundel felt that all he had heard of Van Dyck must be true, and when he went to the King and told him of the prodigy he had found, the King's zeal was warm as that of the agent, for does not the "messianic instinct" always live? ”

“ It must be confessed that Van Dyck, disciple though he was [x] of Rubens and Titian, fell below these masters in the art of imparting life to a figure.
In certain mechanical elements of his art Van Dyck was conspicuously deficient. He seemed to have no ingenuity in devising poses for his subjects. Sitting or standing, the attitude is usually more or less artificial and constrained. The atmosphere of the studio is painfully evident. Never by any accident did he seem to catch the sitter off guard, so to speak, except in a few children's portraits. ”

“ Certainly the finest portrait of Charles I. in existence. It shows Van Dyck in his most attractive aspect as a painter of the aristocracy. Executed before the marked decline in his technical powers, which marred, from an artistic standpoint, the later pictures of his English period, it yet possesses the dignity and distinction he knew so well how to infuse in portraying the nobility of our country. It is one of the best examples of the artist's powers as a colourist, and as such will bear comparison with the productions of the mighty Venetians. ”

“ Among these early works are the “Martyrdom of St Peter” (Brussels) , the “Crowning with Thorns” (Berlin) , the “Betrayal of Christ” (Madrid and Lord Methuen) , “St Martin dividing his Cloak” (Windsor Castle) ,—a magnificent production, generally ascribed to Rubens, but easily identified through Van Dyck’s admirable sketch at Dorchester House.
It is unnecessary to dwell on a number of tales connected with Van Dyck’s early life, all of which have on closer examination proved to be apocryphal; but one story has been too frequently told to be altogether ignored. ”

“ He found Van Dyck and his lady-love sitting hand in hand on a mossy bank, in a leafy grove, listening to the song of a titmouse. Rubens did not chide the young man; he merely took him one side and told him that he had stayed long enough, and "beyond the Alps lies Italy." He also suggested that Anthony Van Dyck could not afford to follow the example of his illustrious Roman namesake who went down into Egypt and found things there so softly luxurious that he forgot home, friends, country—all! To remain at Saventhem would be death to his art—he must have before him the example of the masters. ”

“ The child has a winning face, with large round eyes and a mouth which the flattering painter has shaped like a Cupid's bow. Though the expression is perfectly child-like, there is a certain dignity in the pose of the head, which makes the boy appear mature beyond his years. Evidently Van Dyck meant everybody to know that this was a prince. ”

“ The whole course of painting in England was altered by the brilliant career and achievements of Van Dyck. He destroyed the somewhat hard and narrow traditions of portraiture which had obtained before, and established a principle by which nearly all his successors in England have been guided. His merits as an historical painter have received less recognition in England, and even at Antwerp and elsewhere on the continent they have been overshadowed by the overwhelming and colossal genius of Rubens. ”

“ This Richardot was a celebrated Flemish diplomat of the sixteenth century, and president of the Privy Council of the Low Countries. As he died in Van Dyck's boyhood, his portrait could not have been made by our painter directly from life. Nor can we believe with some that years after the diplomat's death Van Dyck copied from some old picture the likeness seen here. A portrait painted in this way would not have the vitality of our illustration. We are therefore obliged to consider the picture nameless; but our enjoyment of its good qualities is by no means less keen. ”

“ But Van Dyck continued to sigh, and all of his spare time was taken up in painting pictures of the matronly Isabella. He managed to work even in spite of loss of appetite; and sitters sometimes called at the studio and asked for "Master Van Dyck," whereas before there was only one master in the whole domain.
Rubens grew aweary.
He was too generous to think of crushing Van Dyck, and too wise to attempt it. To cast him out and recognize him openly as a rival would be to acknowledge his power. A man with less sense would have kicked the lovesick swain into the street. Rubens was a true diplomat. ”

“ There was every encouragement for a young artist to pursue this calling. Rubens was already a great painter when Van Dyck began his art studies, and the older man gave the younger much helpful advice. [2] At his friend's suggestion Van Dyck travelled several years in Italy, where he was inspired by the works of the Italian masters of the preceding century. Returning at length to his native city, he set up a studio of his own, and soon became a favorite portrait painter among the rich and fashionable classes. ”

“ He 'would detain the persons who sat to him to dinner for an opportunity of studying their countenances and re-touching their pictures,' 'would have a sitter, sitting to him seven entire days, mornings and evenings, and would not once let the man see the picture till it pleased the painter.' Van Dyck appears to have been a man with the possibilities in him of greater things than he attained, possibilities which were baffled by his weakness and self-indulgence, leaving him with such a sense of this as spoiled his greatest successes. ”

“ That he was at the time a portrait painter of the rarest merit may easily be seen from the portrait of “Van der Geest” in the National Gallery (London) , and from his own likenesses of himself when still quite young and beardless, in the National Gallery, in the Pinakothek at Munich and in the Wallace Collection. In this last admirable specimen the young painter has represented himself in the character of Paris. Early paintings by Van Dyck are certainly not scarce in British galleries; at Dulwich there is his admirable Samson and Delilah, ascribed to the school of Rubens. ”

“ There never was a time in the history of the English Court when such opportunities for advancement were presented to an artist possessing the genius of Van Dyck as during the reign of Charles I. He was one of the few monarchs of England who recognised the civilising influence of art on the nation and encouraged it in a manner quite beyond his means. ”

“ His etchings show various modes of treatment, according to the character of the sitter, and it would be difficult to speak of the development of his art, since, by the grace of God, he seems to have been a born etcher.
Van Dyck’s Portrait of Himself naturally interests us most, on account of its subject. So far as Van Dyck has seen fit to carry it, it is a perfect work of art, not the least remarkable feature being the splendid placing of the head upon the plate. ”