#portraits not by van dyck

[brokenbluebouquet]

1/xx unknown posthumous painting of Charles I based on the frontispiece of the Eikon Basilike, after 1660, artist and current location unknown. Purchased by Sir J.C. Robinson at Foster's, 22 July 1891 (89); purchased for the Royal Collection by Queen Victoria in 1892

According to the Royal Collections Trust page on this monster….

Ten days after his execution of 30 January 1649 Charles I’s spiritual autobiography was published – the ‘Eikon Basilike’ or ‘Image of the King’. It is not certain whether this work was written by the King himself or ‘ghosted’ by John Gauden, Bishop of Worcester, but it was an extremely popular piece of Royalist justification and a central part of the development of the cult of King Charles the Martyr (who remains the only Saint canonised by the Church of England). Milton’s riposte, the ‘Eikonoklastes’ (‘The Iconoclast’ or ‘Image-Breaker’) of 1649, did not prevent this work of popular piety from going into many editions. The frontispiece of the ‘Eikon’, designed by William Marshall, and filled with allegorical devices, has always been as famous as the book itself. While not actually copying its composition at all, this painting is entirely derived from Marshall’s print. The King is shown dressed in full earthly splendour - coronation robes, Garter chain, lace collar and so on – but kneeling and praying fervently to an altar upon which is placed a Bible and above which the heavens open. The King has placed a crown of thorns on a cushion at his feet as if offering it (or perhaps taking it up). All the same things happen in the ‘Eikon’ frontispiece except that the King here explicitly takes a crown of thorns labeled ‘Grace’ in exchange for an earthly crown, labeled ‘Vanity’. Many of the allegories which in the ‘Eikon’ fill a landscape outside the chapel in which the King kneels have, in this case, been crowded into a painting-within-a-painting in a fine Baroque frame including a skull. A rock resists some waves and some winds (puffing faces); the same thing is the ‘Eikon’ is labeled ‘Immota, Triumphans’ (‘Unmoved Triumphant’). A palm tree is hung with weights because this tree was said to grow straighter the more weight it bears; in the ‘Eikon’ the same image bears the rubric ‘Crescit sub pondere Virtus’ (‘Virtue grows under weights’, that is in adversity). Such a splendid and public image must have been commissioned after the Restoration, and probably quite soon after, while the matter was still current in people’s minds. A date from the 1660s would certainly fit with the painting’s style.

[lilymelancholie]

Anthony van Dyck (1599-1641)

Portrait of the Sculptor François Duquesnoy (1597-1643), circa 1627-32

[royalty-nobility]

Teresa, or Teresia Sampsonia, Lady Shirley (1589–1668)

Artist: Sir Anthony Van Dyck (Flemish, 1599-1641)

Date: 1622

Medium: Oil on canvas

Collection: National Trust Collections, United Kingdom

Description

Teresa Sampsonia (born Sampsonia; after marriage Lady Shirley, 1589–1668) was an Iranian-English noblewoman of the Safavid Empire of Iran. She was the wife of Elizabethan English adventurer Robert Shirley, whom she accompanied on his travels and embassies across Europe in the name of the Safavid King (Shah) Abbas the Great.

Teresa was received by many of the royal houses of Europe, such as English prince Henry Frederick and Queen Anne (her child's godparents) and contemporary writers and artists such as Thomas Herbert and Anthony van Dyck. Herbert considered Robert Shirley "the greatest Traveller of his time", but admired the "undaunted Lady Teresa" even more. Following the death of her husband from dysentery in 1628, and due to impediments from grandees at the court, and the authorities, during the reign of Abbas's successor and grandson Safi (r. 1629–1642), Teresa decided to leave Iran. She lived in a convent in Rome for the rest of her life, devoting her time to charity and religion. As a pious Christian, and because of her love for her husband, Teresa had Shirley's remains transported to Rome from Isfahan and reburied; on the headstone of their mutual grave she mentions their travels and refers to her noble Circassian origins.

Thanks to her exploits, Teresa has been described as someone who subverted patriarchal gender roles common to the Muslim and Christian cultures of her time. Due to their hybrid identities and adventures, Teresa and her husband became the subject of several contemporary literary and visual works. Nevertheless, the story of Teresa as an important woman of the 17th century has been largely overshadowed and obscured by the tale of her husband Robert and his brothers.

Together they made two extended voyages across Europe. In 1611 they travelled to England where Teresa gave birth to their son, Henry. In 1613 they returned to Isfahan on an East India Company ship. The Shirleys continued to travel over the next decade to India, Portugal, Spain and Italy. They went to Rome in 1622, and this picture and the pendant portrait of Robert can be dated to Van Dyck's first visit to the city.

Van Dyck’s training with Rubens had sharpened his eye for the enriching effect offered by sumptuous garments such as those worn by Lady Shirley. Van Dyck had also recently begun to absorb the lessons of Titian and the other great Venetian colourists.

Teresa was a gifted linguist and spoke more than half a dozen languages. Historian Bernadette Andrea recounts how she saved her husband’s life on at least two occasions: ‘once as they set off on their first journey when his Persian enemies sought to kill him, which earned her the accolade "a true Amazon" and again when the couple encountered hostile Portuguese traders on their way to Goa.’ (See the entry for 'Lady Teresa Sampsonia Sherley' in the Oxford Dictionary of National Biography).

After Robert’s death, Teresa was accused of the capital crime of apostasy and her property was confiscated. She became a fugitive, hiding in an Augustinian church in Isfahan and an Armenian convent just outside the Safavid capital. She received a special permit to travel, went to Istanbul for three years and then on to Rome where she settled and remained for more than three decades until her death in 1668.

[7pleiades7]

William II, Prince of Orange, and his Bride, Mary Stuart (1641), (detail), by Sir Anthony van Dyck (Flemish, 1599–1641), oil on canvas, 182.5 × 142 cm, The Rijksmuseum, Amsterdam

[portrait-paintings]

Sir Robert Shirley (1581-1628)

Artist: Sir Anthony Van Dyck (Flemish, 1599-London)

Date: 1622

Medium: Oil on canvas

Collection: National Trust Collections, United Kingdom

Description

This fascinating portrait, dressed in Persian clothes, was painted in Rome in 1622. Robert Shirley was an adventurer, who from 1608 served as ambassador to the Persian shah Abbas the Great (1571–1629) and adopted Persian customs. Teresia Shirley was Circassian (people from the north-east shore of the Black Sea in Russia) and is shown seated demurely against a view of Rome. The painter, Sir Anthony van Dyck (1599–1641), may have been attracted to painting these sitters partly as a result of the stunning visual effect of their lavish clothes.

[ourstaturestouchtheskies]

Historical Portraits of Children // The Truth is a Cave – The Oh Hellos

Four Children Making Music – attributed to the master of the Countess of Warwick, 1565 // Three Children with a Dog or Two Sisters and a Brother of the Artist – Sofonisba Anguissola, 1570-1590 // The Children of Philip III of Spain (Ferdinand, Alfonso, and Margarita) – Bartolomé González y Serrano, 1612 // Three Children with a Goat-Cart – Frans Hals, 1620 // The Balbi Children – Anthony van Dyck, 1625-1627 // The Three Eldest Children of Charles I – Anthony van Dyck, 1635-1636 // Five Eldest Children of Charles I – Anthony van Dyck, 1637 // Portrait of the Children of Habert de Montmor – Philippe de Champaigne, 1649 // Group Portrait of Charlotte Eleonora zu Dohna, Amalia Louisa zu Dohna, and Friedrich Christoph zu Dohna-Carwinden – Pieter Nason, 1667 // The Graham Children – William Hogarth, 1742 // Portrait of Sir Edward Walpole’s Children – Stephen Slaughter, 1747 // The Bateson Children – Strickland Lowry, 1762 // The Gower Family: The Five Youngest Children of the 2nd Earl Gower – George Romney, 1776-1777 // Marie-Antoinette de Lorraine-Habsbourg, Queen of France, and Her Children – Élisabeth Louise Vigée Le Brun, 1787 // The Marsham Children – Thomas Gainsborough, 1787 // The Oddie Children – William Beechey, 1789 // Three Siblings – Johann Nepomuk Mayer, 1846 // Happy Children – Paul Barthel, 1898 // My Children – Joaquín Sorolla, 1904 // The Truth is a Cave – The Oh Hellos

[eirene]

Portrait Of A Noblewoman With A Parrot

Anthony van Dyck

[portraituresque]

Antoon van Dyck - Self-Portrait - 1615

[oncanvas]

Genoese Noblewoman, Anthony van Dyck, circa 1625-27

Oil on canvas 90 ⅞ x 61 ⅝ in. (230.8 x 156.5 cm) The Frick Collection, New York City, NY, USA

[mahgnib]

Sir Anthony Van Dyck, portrait of English musician and composer Nicholas Lanier, 1628

[juwaiin]

lewis hamilton as van dyck's self-portrait with a sunflower 🌻

part of my ongoing series of formula 1 drivers as popular paintings! 🏎️🖤

[brokenbluebouquet]

Adrian Hannemann, Lucy Percy, Countess of Carlisle, c1640, location unknown

[canvasmirror]

Anthony van Dyck (Flemish, 1599-1641) • SSelf-Portrait with Sunflower • c. 1620–21

[lunamarish]

Anthony van Dyck, Rachel Wriothesley, Countess of Southampton as Fortune (1630), detail

[artthatgivesmefeelings]

Anthony van Dyck (Flemish, 1599-1641) Marchesa Balbi, c.1623 National Gallery of Art

[portrait-paintings]

Anne (Killigrew) Kirke

Artist: Anthony van Dyck (Flemish, 1599-1641)

Date: c. 1637

Medium: Oil on canvas

Collection: The Huntington Library, Art Museum, and Botanical Gardens, San Marino, CA, United States

Anne Killigrew

Anne Killigrew, the eldest of seven daughters among twelve children of Sir Robert (1579-1633) and Lady Mary (Woodhouse) Killigrew, was baptized on September 7, 1607 at Hanworth, Middlesex. Her father took interest in his daughters' educations, and raised them in a stimulating intellectual environment, with the poets John Donne (1572-1631) and Constantijn Huygens (1596-1687), the musician and painter Nicholas Lanier (1588-1666), and the philosopher and statesman Sir Francis Bacon (1561-1626) figuring among the family's intimates. She descended from a long line of royalists and courtiers, and it was reportedly Charles I (1600-49) who orchestrated her match with George Kirke, a Groom to the Royal Bedchamber whose service to Charles pre-dated his accession to the throne in 1625.

Portrait Description

This portrait was almost certainly painted to commemorate Anne Kirke's appointment in 1637 as Dresser to Queen Henrietta Maria. She is depicted wearing a golden silk dress, decorated with a swath of brown gauze across the torso, and iridiscent pearls that reflect the burnished highlights of the silk. With a pointed finger, Anne directs our attention to a leaping dog, a butterfly, and a flowering rosebush. These symbols of fidelity, willingness to serve, and pain endured for pleasure, may refer to her happy marriage and achievements at court.