van Dyck, Anthony, Martinus Pepyn (Martin Pepyn), c. 1675-1690
Anthony van Dyck, Gravure, Martinus Pepyn (Martin Pepyn), c. 1675-1690
|Artiste:||van Dyck, Anthony (1599 - 1641)|
|Titre:||Martinus Pepyn (Martin Pepyn), c. 1675-1690|
|Taille d'image:||9 5/8 in x 6 1/8 in (24.4 cm x 15.6 cm)|
|Taille de feuille:||9 7/8 in x 6 3/8 in (25.1 cm x 16.2 cm)|
|Taille encadrée:||approx. 24 1/2 in x 21 5/8 in (62.2 cm x 54.9 cm)|
|Signé:||Signed in the plate 'Ant. van Dyck pinxit', in the lower left; also signed 'S.a Bolfwert fculp" in the lower left.|
|Edition:||A Mauquoy-Hendrickx State VII (of VII), engraved by S.a Bolswert (Bolswert, 1586 - Antwerp, 1659) in collaboration with Anthony van Dyck (Antwerp, 1559 - London, 1641); printed on a fine paper with the Polish shield with Fleur de Lys and Crown watermark (Mauquoy-Hendrickx no. 171 or 172) dating the piece to c. 1675-1690.|
|Condition:||This work is in very good condition; slight tape remnants along upper border on verso; slight paper thinning in lower corners.|
Part of Van Dyck's "Iconographie" series, this portrait truly captures the essence of its subject. As a Flemish Baroque painter and head of a large family, Pepyn appears appropriately wise and noble, calmly gazing out at us with short hair, a long beard, and humble garbs against a background of stone and drapery.
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|A wonderfully detailed and charismatic portrait, this exquisite work illustrates
the technical mastery and artistic vision of Van Dyck. Martin Pepyn's stately
yet approachable expression reflects Van Dyck's refined ability to comfort and
relax his subjects, resulting in a realistic and acute portrait. Pepyn was a
Flemish Baroque painter who became master of Antwerp's guild of St. Luke in
1600. He was very much a family man, married with five children, two of whom
went on to become respected painters. According to Pepyn's biographer Arnold
Houbraken (1660 - 1719), Peter Rubens (1577 - 1640) was said to have been relieved
to hear that Pepyn was married, since he felt that Pepyn would otherwise threaten
his position as the best painter of Antwerp. This convinced Pepyn that he was
known as a great artist of his time. Van Dyck depicts Pepyn as calm and wise,
donning humble garbs against a simple background of stone and drapery.
This portrait is a Mauquoy-Hendrickx State VII (of VII), engraved by S.a Bolswert (Bolswert, 1586 - Antwerp, 1659) in collaboration with Anthony van Dyck (Antwerp, 1559 - London, 1641) as part of his Iconographie series of engraved portraits of famous people at the time. The plate has been marked in the lower left of the plate "Ant. van Dyck pinxit," and also in the lower left of the plate "S. a Bolfwert fculp." Also noted in the plate "Cum privilegio in the lower right." Beneath the engraved portrait is the inscription: MARTINVS PEPYN | PICTOR HVMANARVM FIGVRARVM ANVERPIÆ. This piece is printed on a fine paper with the Polish shield with Fleur de Lys and Crown watermark (Mauquoy-Hendrickx no. 171 or 172) dating the piece to c. 1675-1690.
1) Mauquoy-Hendrickx. L'Iconographie d'Antoine Van Dyck: Catalogue Raisonne
I. Bruxelles: Bibliotheque Royale Albert I, 1991. Listed as catalogue no. 24
on pg. 122.
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La biographie de Anthony van Dyck
Sir 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.