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Why did Anthony van Dyck need assistants after returning to Antwerp in 1627?
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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.
After returning to Antwerp in 1627, Anthony van Dyck experienced a significant increase in his workload. During this period, the frequent absence of Peter Paul Rubens—who was away on diplomatic missions between 1626 and 1630—led many patrons to seek out van Dyck instead.1
As a result, van Dyck received a high volume of commissions for both altarpieces and portraits. To manage this influx of work and maintain his output, he found it necessary to employ assistants.1