By Raynaud de Lage Thomas and Nayebi Reza, Lycée Alexandre Dumas, Saint-Cloud, France 

His life 

Anthony Van Dyck was born in Antwerp in 1599 and died in 1641 in London. He was raised in a prosperous family, he was the 7th of twelve children; his father was a wealthy merchant. His mother died when he was only 8 years old. He was with Rubens, his master, the main representative of Flemish Baroque painting.  He started his studies at the age of ten with Hendrick Van Balen, and was working by himself at sixteen and already had an apprentice. When he was nineteen he entered the Antwerp painters' Guild of Saint Luke .  

From 1616 to 1620, he worked as chief assistant of Rubens, whom he deeply admired, and who shared his knowledge with him. Rubens was then one of the most influential painters in Europe. He considered Van Dyck his most gifted pupil. He took part in some of Rubens’ finest works. Although his influence was great on the artist, Van Dyck managed to form his personal style. In 1620, the Count of Arundel, a British amateur encouraged him to present himself at King James I’s court where he impressed by his precocious talent. After a short stay in Antwerp, he left for Italy in 1621, where he travelled for inspiration and studied the Italian masters such as Titian, Raphael and Correggio. He spent his time between the major art centers: Rome, Florence, Milan, Turin, Palermo ... But he stayed mainly in Genoa, which became his home base during his trip for he made many friendships there. He gradually distanced himself from Rubens and began his successful career as a portraitist for the Italian high society. He remained in Italy for 6 years and then he returned to Flanders. For 5 years he dedicated himself to his religious paintings and his half-length portraits. During this period he started putting aside some drawings for his Iconography (a collection of engravings of the most powerful people of Europe at that time), which was to make him extremely famous throughout Europe. In 1630 he was named painter by the archduchess Isabella at court in Brussels, and worked in Holland. In 1632 he was summoned to the English Court where he became the official painter of Charles I and the royal family. He was knighted by the king in 1632. He stayed in England until his death. During this period he painted his masterpieces such as his oil on canvas, Portrait of Charles the Ist, King of England, in 1635. He left England only twice afterwards to go back to Flanders and Paris. He died working for the British crown. He is often regarded as the founder of the British School of Painting; he influenced great artists such as Thomas Gainsborough, Joshua Reynolds or Thomas Lawrence.

His style 

This portrait is one of Van Dyck's masterpieces painted around 1635; he was then an official painter of the British Court. It represents the King game hunting and contrasts with the usual official portraits of monarchs. He is here shown without any royal symbol, as an elegant aristocrat, coming off his mount to rest while two pages are taking care of his white horse, as, undoubtedly, he would have liked to be seen by posterity: an incredibly gracious prince, of a refined culture, whose natural nobleness does not need any attribute of power. Nonetheless, the sword he is carrying, his hand, holding a glove and resting on his hip and his cane all show he belongs to nobility. This elegance and refinement are inherent in Van Dyck's technique which reaches a climax in this portrait. Inspired by the Italian masters, he uses the chiaroscuro to give more importance to the King whose silver doublet, too sumptuous for such an occasion, is magnificently illuminated. He stands out against the background that seems to come from one of Giorgione's landscapes or from Titian's early painting and that displays the rich diversity of the Kingdom. The King's attitude oscillates between the nonchalance of a gentleman and the authority of a king.

After the execution of Charles the Ist, the portrait was bought by a French banker who sold it to Louis XIV of France.

This full-length portrait of Gaston of France was painted by Van Dyck in 1632 or 1634.When this portrait was made, Gaston of Orleans was the brother of a weak king, Louis XIII who had no children, therefore he was likely to become someday King of France as he was the legitimate heir. It is an official painting; Gaston is holding the symbols of power: the staff of the commander in chief, and a breastplate over a military tunic. He is wearing around his neck the blue ribbon of the Order of the Knights of the Holy Spirit (the most prestigious Order of Chivalry under the French Monarchy). The hanging in the background, the carpet on the table and his helmet all have the fleur-de-lis on them, asserting his royal rank. The golden colors give an impression of wealth. Van Dyck offers a psychological vision as well. His subject is represented with great dignity; the posture points out the confidence of the character. He is well aware that he is a powerful man. This painting was sold in 1649 to the duke of Hutchinson and only came back in France in 1829. Since 1880 it is kept in the museum of the castle of Chantilly.

Sources

• Guratzsch, H., 1980. L'âge d'or de la peinture flamande et hollandaise. Paris: VNU, pp.158-162. 
• Chalumeau, J.L., 2007. Les 200 plus beaux tableaux du monde. Paris: Éditions du Chêne, p. 194.
• Gombrich, E. H., 2001. Histoire de l’art. Paris. Paris: Phaidon France Editions, p. 403.         
• Encyclopédie gratuite Imago Mundi, 2011 [online] Available <http://www.cosmovisions.com>
• Louvre Museum, 2011. [online] Available <http://www.louvre.fr> [Accessed on 1 March 2011].
• Insecula le + grand site au monde de visite en ligne, 2011. [online] Available <http://www.insecula.com/>  [Accessed on 2 March 2011].