Van Dyck, by Estelle M. Hurll 
 
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Title: Van Dyck A Collection Of Fifteen Pictures And A Portrait Of 
The Painter With Introduction And Interpretation 
Author: Estelle M. Hurll 
Release Date: October 18, 2006 [EBook #19570] 
Language: English 
Character set encoding: ISO-8859-1 
*** START OF THIS PROJECT GUTENBERG EBOOK VAN 
DYCK *** 
 
Produced by Juliet Sutherland, Sankar Viswanathan, and the Online 
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[Illustration: PORTRAIT OF VAN DYCK Prado Gallery, Madrid] 
Masterpieces of Art 
VAN DYCK
A COLLECTION OF FIFTEEN PICTURES 
AND A PORTRAIT OF THE PAINTER 
WITH INTRODUCTION AND 
INTERPRETATION 
 
BY 
ESTELLE M. HURLL 
 
BOSTON AND NEW YORK 
HOUGHTON MIFFLIN COMPANY 
The Riverside Press Cambridge 
1902 
 
COPYRIGHT, 1902, BY HOUGHTON, MIFFLIN & CO. 
* * * * * 
 
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. 
* * * * * 
 
CONTENTS AND LIST OF PICTURES 
Portrait of Van Dyck (DETAIL) (Frontispiece) 
Picture from Carbon Print by Braun, Clément & Co. 
INTRODUCTION 
I. ON VAN DYCK'S CHARACTER AS AN ARTIST 
II. ON BOOKS OF REFERENCE 
III. HISTORICAL DIRECTORY OF THE PICTURES OF THIS 
COLLECTION 
IV. OUTLINE TABLE OF THE PRINCIPAL EVENTS IN VAN 
DYCK'S LIFE 
V. LIST OF CONTEMPORARY PAINTERS 
VI. NOTABLE ENGLISH PERSONS OF THE REIGN OF CHARLES 
I. 
I. PORTRAIT OF ANNA WAKE 
Picture from Carbon Print by Braun, Clément & Co. 
II. THE REST IN EGYPT 
Picture from Carbon Print by Braun, Clément & Co.
III. THE SO-CALLED PORTRAIT OF RICHARDOT AND HIS SON 
Picture from Carbon Print by Braun, Clément & Co. 
IV. THE VISION OF ST. ANTHONY 
Picture from Photograph by Fratelli Alinari 
V. MADAME ANDREAS COLYNS DE NOLE AND HER 
DAUGHTER 
Picture from Photograph by Franz Hanfstaengl 
VI. DÆDALUS AND ICARUS 
Picture from Carbon Print by Braun, Clément & Co. 
VII. PORTRAIT OF CHARLES I. 
By Sir Peter Lely after Van Dyck. Picture from Carbon Print by Braun, 
Clément & Co. 
VIII. THE MADONNA OF ST. ROSALIA 
Picture from Carbon Print by Braun, Clément & Co. 
IX. CHARLES, PRINCE OF WALES (DETAIL) 
Picture from Photograph by D. Anderson 
X. ST. MARTIN DIVIDING HIS CLOAK WITH A BEGGAR 
Picture from Carbon Print by Braun, Clément & Co. 
XI. THE CRUCIFIXION 
Picture from Carbon Print by Braun, Clément & Co. 
XII. JAMES STUART, DUKE OF LENNOX AND RICHMOND
Picture from Photograph of the original Painting 
XIII. CHRIST AND THE PARALYTIC 
Picture from Carbon Print by Braun, Clément & Co. 
XIV. PHILIP, LORD WHARTON 
Picture from Carbon Print by Braun, Clément & Co. 
XV. THE LAMENTATION OVER CHRIST 
Picture from Carbon Print by Braun, Clément & Co. 
XVI. PORTRAIT OF VAN DYCK 
PRONOUNCING VOCABULARY OF PROPER NAMES AND 
FOREIGN WORDS 
* * * * * 
 
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    
    
		
	
	
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