Anthony van Dyck

He began formal training at age 10 under Hendrick van Balen. His early talent was evident in his self-portrait from around age 14, which already showed accomplished skill.¹

Born in Antwerp in 1599, he became a master in the Guild of Saint Luke at the age of 18, demonstrating his precocious talent as an independent painter in his late teens.¹

He became the chief assistant to Peter Paul Rubens, who called him his 'best pupil.' The grand compositional style he learned in Rubens' workshop heavily influenced his early work.¹

He spent six years in Italy from 1621, mostly in Genoa, where he established his own style by painting local aristocrats and absorbing the techniques of Italian masters.¹

During his 1621 stay in London, he encountered Titian's work, which transformed his use of color and modeling, adding a new stylistic language to the lessons learned from Rubens.¹

In Rome, he behaved like a nobleman, wearing silks and gold chains and accompanied by servants, which annoyed the more bohemian colony of Northern artists.¹

In 1624, while in plague-stricken Palermo, he created the standard iconography of Saint Rosalia, which became highly influential for later Italian Baroque painters.¹

An innovator in etching, he produced the 'Iconography' series, a collection of portrait prints of famous contemporary artists and figures, gaining high acclaim in the field.¹

Along with Velázquez, he revolutionized court portraiture. His elegant and sophisticated style dominated English portrait painting for over 150 years.¹

In 1632, he moved to London as the principal court painter for Charles I. Knighted by the King, he painted the royal family and aristocracy, defining the golden age of English portraiture.¹

Self-portrait with a Sunflower

He died in London in 1641 and was buried in St Paul's Cathedral. His burial in such a prestigious location reflects the high social standing he achieved during his lifetime.¹