Schelte A Bolswert - Maria RutenSchelte A Bolswert - Maria Ruten
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Schelte A Bolswert - Maria Ruten

Item Code: xxz27

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Bolswert - Maria Rutten, wife of Van Dyck
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Schelte Adams Bolswert
after the drawing of Sir Anthony Van Dyck

The wife of Sir Antony Van Dyck

Reference: MH 101 ( V-VI / VI )

This is from the famous Iconographia composed by Sir Anthony Van Dyck,

Icones Principum Virorum Doctorup Pictorum Chalcographorum Satuariorium nec non amatorum pictoria artis numero centum ab Antonio van Dijck pictoe ad vivum axpressae eiusque sumptibus aeri incisae.

The Iconography was a collection of portrait prints made after drawings and paintings by van Dyck. Only eighteen were etched by the artist himself (Mauquoy-Hendrickx 1-18). The majority, however, are engravings made by a variety of the most prominent printmakers of his time. This anthology of portraits of artists, soldiers, statesmen, administrators, and scholars, a conspectus of the most distinguished men and women of his time, went through many editions. The edition published by Martinus van den Enden during van Dyck's lifetime consisted of eighty portraits. Van Dyck prepared these prints by making oil sketches and drawings in black chalk, sometimes washed with brown ink.The Iconography of Anthony Van Dyck is considered as the highlight in portrait engraving and a monument in engraving art.

Van Dyck himself etched less then twenty of this portraits and in most cases only some major lines. Most portraits are made after grey painted sketches. Although this portraits have almost always the same attitude, head in three quarter profile, with gives them a stately or proud-elegant style. Never was more spontaneity and fresh originality achieved.  

A good impression with little or no wear. Narrow trimmed just inside thetext line and in a windowcut album sheet.




Additional Information

SKU xxz27
Picture Size 23,50 x 16 cm
Specification Print
technic Etching
Artist Schelte A Bolswert
period 17th century
School Flemish
subject Portrait
rating **

Schelte A. Bolswert (1581-1659)

Boetius Adams (1580-1633) and Schelte Adams (1581-1659) are two brothers born in Bolsward (The Netherlands) who have a great reputation in print history. Schelte Adams became a close friend of Rubens and engraved some of the best works after this great baroque master. His brother Boëtius also participated in some important illustrative suites of this great Antwerp period.


Sir Antony Van Dyck (1599-1641)

van dyckSir Anthony van Dyck was a Flemish painter who was one of the most important and prolific portraitists of the 17th century. He is also considered to be one of the most brilliant colorists in the history of art.
Van Dyck was born on March 22, 1599, in Antwerp, son of a rich silk merchant, and his precocious artistic talent was already obvious at age 11, when he was apprenticed to the Flemish historical painter Hendrik van Balen. He was admitted to the Antwerp guild of painters in 1618, before his 19th birthday. He spent the next two years as a member of the workshop of the Flemish painter Peter Paul Rubens in Antwerp. Van Dyck's work during this period is in the lush, exuberant style of Rubens, and several paintings attributed to Rubens have since been ascribed to van Dyck.
From 1620 to 1627 van Dyck traveled in Italy, where he was in great demand as a portraitist and where he developed his maturing style. He toned down the Flemish robustness of his early work to concentrate on a more dignified, elegant manner. In his portraits of Italian aristocrats—men on prancing horses, ladies in black gowns—he created idealized figures with proud, erect stances, slender figures, and the famous expressive “van Dyck” hands. Influenced by the great Venetian painters Titian, Paolo Veronese, and Giovanni Bellini, he adopted colors of great richness and jewel-like purity. No other painter of the age surpassed van Dyck at portraying the shimmering whites of satin, the smooth blues of silk, or the rich crimsons of velvet. He was the quintessential painter of aristocracy, and was particularly successful in Genoa. There he showed himself capable of creating brilliantly accurate likenesses of his subjects, while he also developed a repertoire of portrait types that served him well in his later work at the court of Charles I of England.
Back in Antwerp from 1627 to 1632, van Dyck worked as a portraitist and a painter of church pictures. In 1632 he settled in London as chief court painter to King Charles I, who knighted him shortly after his arrival. Van Dyck painted most of the English aristocracy of the time, and his style became lighter and more luminous, with thinner paint and more sparkling highlights in gold and silver. At the same time, his portraits occasionally showed a certain hastiness or superficiality as he hurried to satisfy his flood of commissions. In 1635 van Dyck painted his masterpiece, Charles I in Hunting Dress (Louvre, Paris), a standing figure emphasizing the haughty grace of the monarch.
Van Dyck was one of the most influential 17th-century painters. He set a new style for Flemish art and founded the English school of painting; the portraitists Sir Joshua Reynolds and Thomas Gainsborough of that school were his artistic heirs. He died in London on December 9, 1641.

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