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Van Dyck and the Making of English Portraiture

By (author) Adam Eaker

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A new account of painting in early modern England centered on the art and legacy of Anthony van Dyck As a courtier, figure of fashion, and object of erotic fascination, Anthony van Dyck (1599â€“1641) transformed the professional identities available to English artists. By making his portrait sittings into a form of courtly spectacle, Van Dyck inspired poets and playwrights at the same time that he offended guardians of traditional hierarchies. A self-consciously Van Dyckian lineage of artists, many of them women, extends from his lifetime to the end of the eighteenth century and beyond. Â Recovering the often surprising responses of both writers and painters to Van Dyckâ€™s portraits, this book provides an alternative perspective on English artâ€™s historical self-consciousness. Built around a series of close readings of artworks and texts ranging from poems and plays to early biographies and studio gossip, it traces the reception of Van Dyckâ€™s art on the part of artists like Mary Beale, William Hogarth, and Richard and Maria Cosway to bestow a historical specificity on the frequent claim that Van Dyck founded an English school of portraiture. Distributed for the Paul Mellon Centre for Studies in British Art

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