"it did the beginnings of the career of John Milton, in addition to the poets of the movements already mentioned. In the visual arts, the portraiture of Anthony van Dyck (appointed ""painter to the king,"" 1633–1641) was a dominant influence, and has sometimes been credited with founding an English school of painting. Upon his death in 1641, his position as portraitist to the royal family was filled, practically if not formally, by William Dobson (ca. 1610–1646), making Dobson the most prominent native-born English artist of the era. Inigo Jones carried forward his work in architecture and design, though without breaking"
"the execution of Charles I of England left England and resided in Antwerp between 1649 and 1653 with his second wife and daughter. Van Reesbroeck received many commissions for portraits from ecclesiastical clients, including Ambrosius Capello and Benedicto Blommaerts. At the same time van Reesbroeck received commissions from local and foreign secular patrons. He was asked by Balthasar Moretus II to produce four portraits of members of the Moretus family, the owners of the Plantin Press in Antwerp. He also painted the portraits of prominent aristocrats such as those of and Frederick William, Elector of Brandenburg. In the period 1659-1660"
"members of the court. Little is known of Dobson's career in the 1630s, but when Van Dyck died in 1641, the opportunity arose for him to gain royal commissions from King Charles. He is said to have become serjeant painter to the king and groom of the privy chamber. However, this claim comes from only one old and as yet unverified source. During the English Civil War Dobson was based at the Royalist centre of Oxford and painted many leading Cavaliers. His portrait of the future Charles II as Prince of Wales at the age of around twelve is a"
"Acton records that his death occurred in the midst of lascivious intercourse. Charles tried to revive the tradition of his family as patrons of the arts and to rebuild his family's art collection, which had been largely sold off by his forebears. He appointed in 1657 the Flemish painter and printmaker Daniel van den Dyck as his official court painter, architect, surveyor of his building program and engineer for stage designs for the theatre. After van den Dyck's death he appointed on 4 April 1663 another Flemish painter called Frans Geffels as his new court painter. Charles II, Duke of"
"the request of Charles I of England. With the exception of Holbein, van Dyck and his contemporary Diego Velázquez were the first painters of pre-eminent talent to work mainly as court portraitists, revolutionising the genre. He is best known for his portraits of European aristocracy, most notably Charles I and his family and associates; Van Dyck became the dominant influence on English portrait-painting for the next 150 years. He also painted mythological and biblical subjects, including altarpieces, displayed outstanding facility as a draughtsman, and was an important innovator in watercolour and etching. His superb brushwork, apparently rather quickly painted, can"
"been long suggested as undocumented works by Scrots, but art historians have recently questioned that attribution. Both paintings are in the Royal Collection at Windsor Castle. William Scrots William (or Guillim) Scrots (or Scrotes or Stretes; active 1537–1553) was a painter of the Tudor court and an exponent of the Mannerist style of painting in the Netherlands. Scrots is first heard of when appointed a court painter to Mary of Habsburg, Regent of the Netherlands, in 1537. In England, he followed Hans Holbein as King's Painter to Henry VIII in 1546, with a substantial annual salary of £62 10s, over"
"John de Critz John de Critz or John Decritz (1551/2 – 14 March 1642 (buried)) was one of a number of painters of Flemish and Dutch origin active at the English royal court during the reigns of James I of England and Charles I of England. He held the post of Serjeant Painter to the king from 1603, at first jointly with Leonard Fryer and from 1610 jointly with Robert Peake the Elder. De Critz was born in Antwerp. His Flemish parents brought him as a boy to England from Antwerp, during the Habsburg persecution of Dutch Protestants, and apprenticed"
"Collection in New York had an exhibition ""Van Dyck: The Anatomy of Portraiture"", the first major survey of the artist's work in the United States in over two decades. Anthony van Dyck Sir Anthony van Dyck (, many variant spellings; 22 March 1599 – 9 December 1641) was a Flemish Baroque artist who became the leading court painter in England after success in the Southern Netherlands and Italy. The seventh child of Frans van Dyck, a wealthy Antwerp silk merchant, Anthony was precocious as a youth and painted from an early age. In his late teens he was already enjoying"
"Adriaen Hanneman Adriaen Hanneman (c. 1603 – buried 11 July 1671) was a Dutch Golden Age painter best known for his portraits of the exiled British royal court. His style was strongly influenced by his contemporary, Anthony van Dyck. He was born into a wealthy Catholic patrician family in the Hague, and studied drawing with Hague portrait artist Jan Antonisz. van Ravesteyn. He left for England in 1623 where he lived for 16 years. There he met and was influenced by Anthony van Dyck, Cornelis Janssens van Ceulen, and Daniel Mytens. He enjoyed the patronage of Constantijn Huygens, who introduced"
"with Sir Peter Lely followed by Sir Godfrey Kneller, developing the English portrait style established by the Flemish Anthony van Dyck before the English Civil War. The marine painters van der Velde, father and son, were among several artists who left Holland at the French invasion of 1672, which brought a collapse in the art market. They also moved to London, and the beginnings of English landscape painting were established by several less distinguished Dutch painters, such as Hendrick Danckerts. The Bamboccianti were a colony of Dutch artists who introduced the genre scene to Italy. Jan Weenix and Melchior d'Hondecoeter"
"her son, Willem III. Mary is painted wearing a South American cloak of colored feathers, and a headdress of pearls and ostrich feathers. Such cloaks had been brought to the Netherlands from Brazil as early as 1644. Adriaen Hanneman Adriaen Hanneman (c. 1603 – buried 11 July 1671) was a Dutch Golden Age painter best known for his portraits of the exiled British royal court. His style was strongly influenced by his contemporary, Anthony van Dyck. He was born into a wealthy Catholic patrician family in the Hague, and studied drawing with Hague portrait artist Jan Antonisz. van Ravesteyn. He"
"William Scrots William (or Guillim) Scrots (or Scrotes or Stretes; active 1537–1553) was a painter of the Tudor court and an exponent of the Mannerist style of painting in the Netherlands. Scrots is first heard of when appointed a court painter to Mary of Habsburg, Regent of the Netherlands, in 1537. In England, he followed Hans Holbein as King's Painter to Henry VIII in 1546, with a substantial annual salary of £62 10s, over twice as much as Holbein's thirty pounds a year. He continued in this role during the reign of the boy king Edward VI. His salary was"
"Cornelius Johnson (artist) Cornelius Johnson or Cornelis Janssens van Ceulen (; also Cornelius Jonson van Ceulen, Cornelis Jansz. van Ceulen and many other variants) (bapt. 14 October 1593 – bur. 5 August 1661) was an English painter of portraits of Dutch or Flemish parentage. He was active in England, from at least 1618 to 1643, when he moved to Middelburg in the Netherlands to escape the English Civil War. Between 1646 and 1652 he lived in Amsterdam, before settling in Utrecht, where he died. Johnson painted many portraits of emerging new English gentry. His early portraits were panel paintings with"
"of hand and readiness, or rather rapidity of execution, for which Van Dyck was so remarkable, in so much that when Charles I observed the expeditious manner of Beck's painting, he exclaimed, ""Faith! Beck, I believe you could paint riding post"" and asked him to teach his sons drawing. He taught drawing to Charles II of England and his brothers James II of England, and Henry Stuart, Duke of Gloucester. After the outbreak of the English Civil War that eventually led to the execution of his patron Charles I, Beck left England to travel around the courts of Europe. In"
"Anthony van Dyck Sir Anthony van Dyck (, many variant spellings; 22 March 1599 – 9 December 1641) was a Flemish Baroque artist who became the leading court painter in England after success in the Southern Netherlands and Italy. The seventh child of Frans van Dyck, a wealthy Antwerp silk merchant, Anthony was precocious as a youth and painted from an early age. In his late teens he was already enjoying success as an independent painter, becoming a master in the Antwerp guild in 1618. By this time he was working in the studio of the leading northern painter of"
"in Antwerp, returning the following year, and in 1640–41, as the Civil War loomed, spent several months in Flanders and France. In 1640 he accompanied prince John Casimir of Poland after he was freed from French imprisonment. A letter dated 13 August 1641, from Lady Roxburghe in England to a correspondent in The Hague, reported that van Dyck was recuperating from a long illness. In November van Dyck's condition worsened, and he returned to England from Paris, where he had gone to paint Cardinal Richelieu. He died in London on 9 December 1641. In the 17th century, demand for portraits"
"Equestrian Portrait of Charles I The Equestrian Portrait of Charles I (also known as Charles I on Horseback) is an oil painting on canvas by Anthony van Dyck, showing Charles I on horseback. Charles I had become King of England, Scotland and Ireland in 1625 on the death of his father James I, and Van Dyck became Charles's Principal Painter in Ordinary in 1632. The portrait is thought to have been painted in about 1637–38, only a few years before the English Civil War broke out in 1642. It is one of many portraits of Charles by Van Dyck, including"
"adopted the surname ""Lely"" (also occasionally spelled Lilly) from a heraldic lily on the gable of the house where his father was born in The Hague. He arrived in London in around 1643, His early English paintings, mainly mythological or religious scenes, or portraits set in a pastoral landscape, show influences from Anthony van Dyck and the Dutch baroque. Lely's portraits were well received, and he succeeded Anthony van Dyck (who had died in 1641) as the most fashionable portrait artist in England. He became a freeman of the Painter-Stainers' Company in 1647 and was portrait artist to Charles I."
"exhausting travel in this role did not allow van den Dyck to work as a painter, the premier reason for his appointment to the court. This may explain why van den Dyck operated a large workshop with assistants. These assistants would produce his works which he would then 'touch up'. The date of his death is not known with certainty. It is placed shortly after he drew up his will on 27 June 1662. On 4 April 1663 the duke of Mantua appointed another Flemish painter called Frans Geffels as his new court painter. Van den Dyck's son may have"
"perhaps in connection with the arrival of Van Dyck and the departure from England of Daniel Mytens – Johnson may have been found a role as a back-up for van Dyck. He has been described as ""one of the most gifted and prolific portrait painters practising in England during the 1620s and 1630s"". Lionel Cust describes him as being ""more accomplished"" than Gheeraerts. However, he has also been described as ""a good painter, but unable to compete with the flair and superlative skills of van Dyck"". Compared with van Dyck, Johnson's portraits were ""lower key but exquisite"". He was one"
"in Bologna. He later traveled to Vienna, and was awarded an increased grant for going to Paris in 1694. He finally returned to Stockholm and his uncle’s studio in 1696. After Ehrenstrahl's death in 1698, Krafft was appointed his successor as court painter. His main task was to paint representative portraits of the King, Charles XII of Sweden. His last portrait of the King before his departure for the war in 1700 was an equestrian portrait showing the King wearing a wig and an ermine cape. In the absence of the King, his main employer was the Dowager Queen Hedvig"
"greater value to a picture than an English name, so long may we expect to find Cornelius Johnson or Jonson masquerading in catalogues as Cornelius Janssens."" Cornelius Johnson (artist) Cornelius Johnson or Cornelis Janssens van Ceulen (; also Cornelius Jonson van Ceulen, Cornelis Jansz. van Ceulen and many other variants) (bapt. 14 October 1593 – bur. 5 August 1661) was an English painter of portraits of Dutch or Flemish parentage. He was active in England, from at least 1618 to 1643, when he moved to Middelburg in the Netherlands to escape the English Civil War. Between 1646 and 1652 he"
"his nine-month visit, during which he was knighted. Charles's court portraitist, Daniel Mytens, was a somewhat pedestrian Dutchman. Charles was very short, less than tall, and presented challenges to a portrait artist. Van Dyck had remained in touch with the English court and had helped King Charles's agents in their search for pictures. He had also sent back some of his own works, including a portrait (1623) of himself with Endymion Porter, one of Charles's agents, a mythological work, ""Rinaldo and Armida"" (1629, now in the Baltimore Museum of Art), and a religious picture for the Queen. He had also"
"sold at the dispersal of the collection, as original works. His principal portraits were done in Ireland, and remained there. One of the Duke of Ormonde was in the possession of the Earl of Leicester. James Gandy James Gandy (1619–1689) was an English portrait-painter, one of the earliest native English painters. Gandy was probably a native of Exeter. He is said to have been a pupil of Anthony van Dyck, and to have acquired some of his style; he may have painted the drapery in Van Dyck's pictures. In 1661 he was taken to Ireland by his patron, the Duke"
"Marcus Gheeraerts the Younger Marcus Gheeraerts (also written as Gerards or Geerards; 1561/62 – 19 January 1636) was a Flemish artist working at the Tudor court, described as ""the most important artist of quality to work in England in large-scale between Eworth and Van Dyck"" He was brought to England as a child by his father Marcus Gheeraerts the Elder, also a painter. He became a fashionable portraitist in the last decade of the reign of Elizabeth I under the patronage of her champion and pageant-master Sir Henry Lee. He introduced a new aesthetic in English court painting that captured"
"Jan van der Vaardt Jan van der Vaardt (name variations: Jan van der Vaart, John Van der Vaart, John Vander Vaart, Jan van der Waart) (c.1650 –1727) was a Dutch painter of portraits, landscapes and trompe-l'œil paintings and a mezzotint artist who was active in England for most of his career. Van der Vaardt was born in Haarlem, where he trained with Thomas Wijck. Van der Vaardt is documented from 1674 onwards in London. Here he worked in the workshop of another Dutch immigrant, Willem Wissing, who was a pupil and former collaborator of the court portrait painter Sir Peter"
"John Riley (painter) John Riley, or Ryley, (1646 – March 1691) was an English portrait painter. He painted portraits of Charles II and James II, and was court painter to William III and Mary II. One of his pupils was Jonathan Richardson. Riley was born in London, one of the sons of William Ryley, Lancaster Herald and keeper of the records in the Tower of London, who was created Norroy king-at-arms under the Commonwealth, but reverted to his herald's office at the Restoration. Another son, Thomas Riley, was an actor. Riley studied painting under Isaac Fuller and Gerard Soest, and"
"painted as a seventeen-year-old in 1623 and again in 1629. Mijtens made visits to the Netherlands in 1626 and 1630, perhaps to study the latest developments in his field, more particularly the works of Rubens and Van Dyck. Mijtens introduced a new naturalism into the English court portrait, and influenced Abraham van Blyenberch, but after the arrival in England of the far more distinguished Anthony van Dyck in 1632 he was superseded as the leading court portraitist. Van Dyck demonstrated his superiority over Mytens by painting a portrait of the King and Queen, based on Mytens original, but better executed."
"His talent ensured that his career was not interrupted by Charles's execution, and he served Oliver Cromwell, whom he painted ""warts and all"", and Richard Cromwell. In the years around 1650 the poet Sir Richard Lovelace wrote two poems about Lely – ""Peinture"" and ""See what a clouded majesty ..."" After the English Restoration in 1660, Lely was appointed as Charles II's Principal Painter in Ordinary in 1661, with a stipend of £200 per year, as Van Dyck had enjoyed in the previous Stuart reign. Lely became a naturalised English subject in 1662. The young Robert Hooke came to London"
"an especial target. While in London Rubens painted and later supplied more paintings from Antwerp. He was very well-treated during his nine-month visit, during which he was knighted. Charles eventually persuaded Ruben's pupil, Van Dyck, to settle in London. Charles employed English and foreign court painters from whom he commissioned new works. In addition to Van Dyck, these included Cornelius Johnson and Daniel Mytens. Van Dyck's portraits, particularly those on horseback that disguised the fact that Charles was very short (less than tall), presented an authoritative and majestic image of the King. Much of his collection was put up for"
"been influenced by the work of Anthony van Dyck. In London he was invited to paint at the court of King Charles II of England. His work is included in major collections such as the National Portrait Gallery, London, and the Louvre. At the peak of his career, at the Salon of 1673, he presented ten pictures, of which nine were portraits. Few of Lefèbvre's paintings have survived, and many are known only from engravings by artists such as Gérard Edelinck, Nicolas de Poilly and Pieter van Schuppen. Based on the evidence from engravings, several paintings have been attributed to"
"live at Milford Hall in Staffordshire. It is also likely that two portraits by artist Sir Anthony van Dyck of King Charles I and his Queen, later in the possession of Sir Richard Levett, Lord Mayor of London, were initially owned by courtier William Levet and found their way to his nephew the Lord Mayor. William Levett (courtier) William Levett, Esq., (sometimes spelled William Levet) was a long serving courtier to King Charles I of England. Levett accompanied the King during his flight from Parliamentary forces, including his escape from Hampton Court palace, and eventually to his imprisonment in Carisbrooke"
"Robert Peake the Elder (c. 1551–1619). The artists of the Tudor court and their successors until the early 18th century included a number of influential imported talents: Hans Holbein the Younger, Anthony van Dyck, Peter Paul Rubens, Orazio Gentileschi and his daughter Artemisia, Sir Peter Lely (a naturalised English subject from 1662), and Sir Godfrey Kneller (a naturalised English subject by the time of his 1691 knighthood). The 17th century saw a number of significant English painters of full-size portraits, most notably William Dobson 1611 (bapt. 1611-(bur. 1646); others include Cornelius Johnson (bapt. 1593–bur. 1661) and Robert Walker (1599–1658). Samuel"