< >

埃塞克斯姐妹-Sir Anthony van Dyck(1599–1641)

作者: 安东尼范戴克及其画室 Sir Anthony van Dyck(15991641) and his Studio
国家地区: 安特卫普,现今比利时北方的荷兰语区
画布尺寸 :135x153cm
材质: 油画和亚麻布
年份 :1640


邮  箱:lsq@shougudong.com
手  机:18516790180

作品描述 | Description

作者:安东尼·范戴克及其画室 Sir Anthony van Dyck(1599–1641) and his Studio

Earls of Winchilsea, Burley-on-the-Hill House
sale, Christie‘s, London, 20 June 1947, lot 91
sale, Christie‘s, London, 11 April 1974, lot 157
Belgian private collection

Double portrait of the Essex Sisters: the Countess of Manchester and Lady Anne Rich (d. c. 1655), oil on canvas, 135 x 153 cm, framed,

Literature: S. Barnes, N. de Poorter, O. Millar, H. Vey, Van Dyck, A Complete Catalogue of the Paintings, New Haven and London 2004, p. 583 (no. IV 198).

The two ladies depicted here were the daughters of Sir Thomas Cheeke, Bt. The present double portrait by Van Dyck‘s workshop is based on individual portraits of the two sisters (for the Portrait of the Countess of Manchester, private collection, comp. no. IV 160; for the Portrait of Lady Rich, private collection, comp. no. IV 198). Besides our painting, two further versions of this double portrait are known; one figured in the collection of the Dukes of Manchester at Kimbolton Castle, while the other was once in the Los Angeles County Museum of Art and was sold at auction at Sotheby‘s, New York, on 7 November 1977.

The detailed, touching portrait of two sisters—an elegy on marriage and love—belongs to a small and distinguished group of double portraits painted by Van Dyck in England during the last years of his life. On the left side of the painting, Essex Cheeke (who is already married) meets the visitor’s gaze tenderly but knowingly—her finger on the rosebush, symbolizing her knowledge of carnal love. On the right, dressed in virginal white and soon to marry, is her sister Anne. In taking her sister gently by the hand and guiding it toward a basket of roses, Essex symbolically encourages Anne and shows her she has nothing to fear—the roses have no thorns, and the pleasures of love await.

安 东尼·凡·戴克是法蘭德斯畫家,巴洛克宮庭肖像畫的創造者。當他在 14 歲時便當上魯本斯﹝Rubens﹞的首席助理。在大師的影響之下,他修改了早期羞澀、粗獷的風格,而開始使用細緻的色調。1621 年,他前往義大利,在熱那亞和羅馬停留了極長的時間,並且創作了許多出色的肖像畫,它們在個性的刻劃上雖不如魯本斯來得有力量,但對被畫者的特性有敏銳的 掌握,他表現了一種永恆的格調,反應出他內在的憂鬱。
1627 年,范戴克回到安特衛普﹝Antwerp﹞,1630 年被布魯塞爾的西班牙皇室封為宮廷畫家,並且畫了許多肖像,又完成了多建教堂所委託的傑作。
932 年,范戴克遷至倫敦,被英王查理一世封為爵士,,命為「首席畫家」。他在英國九年間的肖像畫作品相當不少,其中最為有名的是國王查理一世的三幅肖像畫、 《查理一世的三個孩子》﹝The Three Eldest Children of Charles I ﹞等,這些作品為英國肖像畫的偉大傳統創設了一個典範。

Van Dyck was the most important Flemish painter of the 17th century after Rubens, whose works influenced the young Van Dyck. He also studied and was profoundly influenced by the work of Italian artists, above all, Titian.
Van Dyck was an extremely successful portraitist and painter of religious and mythological pictures in Antwerp and Italy. He was also an accomplished draughtsman and etcher. However, he is now best remembered for his elegant representations of Charles I and his court.
Van Dyck was born in Antwerp. A precocious artist, his first independent works date from 1615-16, when he would have been about 17. In 1621 he was in the service of James I of England, but left to visit Italy, where he remained until 1627. His aristocratic rendering of Genoese patricians, like the so-called 'Balbi Children', were very well received in that city. After a second period in the Netherlands, greater success awaited Van Dyck when he settled at the English court in 1632. His authoritative and flattering representations of Charles I and his family set a new standard for English portraiture to which members of the court were keen to aspire.