Anthonis van Dyck, Antwerp 1599 - 1641 London, Attributed

Anthonis van Dyck

Antwerp 1599 - 1641 London, Attributed

"Study head"

Bozzetto

Oil on paper laminated on wooden board

Original size 35 x 24,5 cm, total size 39,5 x 30 cm



Anthonis van Dyck was an important master of the Flemish Baroque who also worked together with Peter Paul Rubens. He painted his first portrait at the age of 14, depicting an elderly man. In London he worked, among other things, as a portraitist for Charles I of England (1600-1649). In the course of his career, he produced a total of 99 works, 72 of which were portraits. Among them are unfinished portrait studies, including this one.



The study head of an elderly man in three-quarter profile features a prominent nose and full beard, one of his most popular portrait motifs, reminiscent of Abraham from the depiction of Abraham and Isaac (Narodni Galerie Prague, inv. no. 0-1780) and the study head from the Musee de Picardie in Amiens (inv. no. 1894-88) from a different perspective. This could indicate that van Dyck made several studies of the same model and used them for different pictorial subjects. Like many other artists of the time, including Rubens, he made preparatory studies with a model in various poses, especially on paper. This presumably facilitated the multi-layered working process and allowed greater speed in the execution of the commissioned works. For example, such a physiognomy with a full head of hair and beard corresponds to the depiction of the Apostle Paul (cf. Gemaeldegalerie Alte Meister der Staatlichen Kunstsammlungen Dresden, inv. no. 1021A).



The dark background is typical, which emphasises the figure even more - this is also referred to as "van Dyck brown". The expressively rendered flesh parts with shadowy reflections suggest a light source from the left and reflect van Dyck's ability to precisely mix different hues to define textures in light and shade. A silvery sheen is shown in the heightened areas of the face, revealing the man's advanced age. The painter drew inspiration in the use of light on skin surfaces from Frans Hals (Antwerp 1580/95-1666 Haarlem), although van Dyck favoured soft textures.



The softly modelled face frames large, alert eyes that sit deep in their sockets. The sitter's proud, confident gaze is turned to the side, appearing as if captured in a snapshot. Van Dyck was particularly known for portraying people with natural authority and dignity. Note especially the strong psychological characterisation of the sitter, without the use of props, interiors, or gestures. It is especially the suggestive turn of the man towards or away from the portraitist that reveals the deep spatial dimension of the portrait. In this context, the hair, with its highlighted sections and white highlights, is a characteristic feature of van Dyck's painting technique and colour palette. The particularly fine, almost meticulous strokes of the hair sections are extremely impressive despite the unfinished representation. Known for his loose and flowing brushstrokes with the incorporation of filigree details, he brings the vividness of the subject to the viewer's attention. In its entirety, the study head appears almost expressionistically modelled and thus fits ideally with the prevailing taste of the time.