DYCK from 1835 in Munich, was for years a re- nowned contributor to the Fliegende Bliit- j ter, and in 1854 was appointed director of the Art School of Industry. Works : Forti- fication of Kehlheioi, Convent Kitchen, Destroyed Village, At the City Wall of Erding (1857) ; Cashier's Room (1858) ; Writing Room (1860) ; In the Granary (1860) ; In the Studio (1861) ; Church In- terior (1863) ; Delegation (1864) ; Burgo- master's Return Home (1868). AUgein. d. Biogr., v. 508 ; Brockhaus, v. 686 ; Kunst- Chronik, ix. 464. DYCK, ANTON VAN (Sir Antony Van- dyck), born in Ant- werp, March 22, 1599, died in London, Dec. 9, 1641. At ten years of age he was appren- ticed by his father, Francis Van Dyck, linen draper, to Heu- drik Van Baleii, and at sixteen he entered the studio of Rubens as his pupil and assist- ant. Employed by this great master to pre- pare black and white drawings from his pic- tures for the use of the engravers who worked under his eye, and to make cartoons from his sketches, of which the history of Darius in the Liechtenstein Gallery at Vienna may be taken as an example, Van Dyck's talent developed with astonishing rapidity. The esteem in which Rubens held him showed itself in numerous acts of kindness, as in 1620, when he procured him a commission from the Jesuits to paint an altarpiece for their church ; in 1621, when he presented him to the Countess of Arundel, through whom he obtained access to James L, whose portrait he painted at Windsor ; and in the autumn of the same year, when he sent the Chevalier Varni with him to Italy, and gave him a horse for the journey. Van Dyck reached Rome in February, 1622, but it was not until the following year, after he had visited Florence, Bologna, Venice, and Man- , tua, that he took up his residence there, and made himself known by painting the admir- able portrait of Cardinal Bentivoglio, now one of the gems of the Pitti Gallery. Its suc- cess, and Van Dyck's love of display, excited the jealousy of his brother artiste, who made Rome so intolerable to him that ho left it for Genoa in June, 1624, and remained there i until the next year, when he returned home. At Antwerp he found enemies who decried him, and waited for commissions, until Ru- , bens bought several of his pictures and set the tide running in his favour. To tliis time belong the Crucifixion, in the Church of Notre Dame at Terrnonde, the St. Sebastian, at Munich, and the portrait of the Arch- duchess Clare Eugenie, in the Gallery at Turin. After an unsuccessful visit to Eng- land (1627), where he failed to obtain pres- entation at court for want of favour with the Duke of Buckingham, Van Dyck lived for three years at Antwerp and Brussels, painting many religio-historical pictures and portraits, and etching ten admirable por- traits of painters, which are yet unsurpassed. Meanwhile, one of his friends had given his Rinaldo and Armida to Charles I., who was j so delighted with it that in 1630 he invited the painter to England. In April, 1632, Van Dyck obeyed the summons, and after he had been presented to the King by Sir Kenehn Digby, painted his portrait, that of the , Queen, and the great picture of the Royal Family, now at Windsor. In July he was knighted, aud appointed court painter, and in October, 1633, had a pension of 200 a year assigned to him. During the next nine years he painted 19 portraits of the King, 17 of the Queen, as well as many of their children, at a fixed price of 50 for half, and 100 for full-length figurea Living in a style of splendour far beyond his means, Van Dyck became more and more embarrassed as the troubles of Charles' reign thickened, until, in 1638, he presented his unpaid claims to the King, including his pension for the past five years, payment for many portraits, and for four cartoons prepared for tapestries 441
