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How did Anthony van Dyck’s portraits change during his time in Italy?
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Anthony van Dyck
Self-Portrait, oil on canvas by Anthony Van Dyck, c. 1620–21; in the Metropolitan Museum of Art, New York City. 119.7 × 87.9 cm.
During his time in Italy (1621–1627), Anthony van Dyck’s portraiture underwent a significant stylistic evolution, shifting toward greater grandeur and aristocratic refinement.1
Key changes in his approach included:
- Composition and Engagement: While his earlier portraits typically featured sitters looking directly at the viewer, his Italian works often depicted subjects turned away, as if preoccupied with weightier matters.1
- Emphasis on Status: Many of his Italian portraits were full-length, designed to emphasize the social standing and elegance of his subjects.1
- Refinement and Expression: Influenced by his study of Venetian masters—particularly Titian—his work displayed increased colouristic and expressive refinement.1
- Atmosphere: His portrayals of Genovese ladies, often depicted in silk and finery, frequently adopted a condescending or aloof expression.1
These developments marked a departure from his earlier style, favoring a sophisticated, formal aesthetic that would define his later career.12