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Portrait of a Young Lady, oil on canvas Author: school of A. van Dyck (Antwerp 1599 - London 1641).

Portrait of a Young Lady, oil on canvas Author: school of A. van Dyck (Antwerp 1599 - London 1641).

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Subject: portrait of a young lady , oil on canvas

Author: school of A. ​van Dyck (Antwerp 1599 - London 1641).

The painting we present is an emblematic example of portraiture attributable to the school of the great Flemish master van Dyck: in fact, in the canvas, like the mostly female portraits of the Antwerp painter's London period, all the originality of a style emerges, now freed from Rubens' models, less sculptural and more official and mannered, with more lyrical and refined colouring and, not infrequently as in this case, more shadowy tones.

We are in fact in the presence of a “State portrait”, a genre in which van Dyck appears to be indebted to Rubens (for whose lesson and whose influence on the portraiture of our painter was fundamental the stay in Genoa, a city in which van Dyck painted a large quantity of them) as well as to the great Titian, whose chromatic fascination he was subjected to.

However, in portraiture, a genre favoured by Van Dyck to the point of dominating his religious production, the homage to the most genuine tradition of his predecessors remains unchanged: Flemish painting, above all for the attention paid to the details of the clothing of the immortalised characters (lace, trim on the clothes), official effigies which have little or nothing of introspection and in which the artist's personality voluntarily chooses to be annulled in the name of officialdom.

Now, even in the proposed portrait, the main function is first of all to give iconographic voice to the high social class of the young woman to highlight the refinement and respect she enjoyed.

If the first notable Van Eyck portraits were created in Genoa, laying the foundations for a production that would accompany the artist throughout his journey in Italy, it was in London that Van Eyck became a “court portraitist”, sought after and desired by the best English nobility.

To mention some famous Van Dyckian works in the genre, it will be enough to recall the portrait of a lady (Milan, Brera), in which there is a funereal context parallel to that of our painting and revealed by the intense black of the dress, or again the portrait of the marquise Caterina Durazzo (Genoa, Palazzo Reale).

As Erik Larsen rightly pointed out, “van Dyck was precisely inspired by Rubens' models, especially in relation to their external appearance, the markedly long and narrow shape of the canvases and the extremely decorative way of presenting the portrayed figures”.

However, even here, just as in the emblematic and specular case of Caterina Durazzo, "the image of the artist appears subordinate to that of the character", works in which "the Rubens symphony has transformed into a sober sonata" (Larsen).

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Portrait of a Young Lady, oil on canvas Author: school of A. van Dyck (Antwerp 1599 - London 1641).
Portrait of a Young Lady, oil on canvas Author: school of A. van Dyck (Antwerp 1599 - London 1641).
Portrait of a Young Lady, oil on canvas Author: school of A. van Dyck (Antwerp 1599 - London 1641).
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