( music ) rrat in 199 the national gall ofrtn washington of the dea of the painter sir anthy van dyck wi an extraordinary exhibition of about 100 paiings and oil sketches, gather from collections arnd t world. born in 15, van dyck's remarkable career took him from his native flanders to italy, and then to england as court painter to charles i, before the artist's death there in 1641.

reesenthll range o van dyck's artistic creation, which allowed us to realize thimposing s of many of his compositions, react to t sensuous color, and rceive the touchf the artist in the rich brushwork. the pangsthemselves ca. in this program, we'll try to recreate the experience of the exhibition itself, moving through the various phases of van dyck's career and discovering his magnificent art. van dyck's earliest family portrait sets the stage for our look at the artist's life and work. itas painted in 19n anerp, when van dyck was only about 20 yearsld. in this close-knit group, we sense intimacy and informality. the child looks up at h fathe who leans protectively toward his young wife and daughter. this deep sympathy for families would be one of van dyck's great contributions to the art of portraiture.

in 1609, when van dyck was only 10 years old, he apprenticed with a painter in his native city of antwerp in the southern netherlands. by t time he was 16, his skill and talent aowed h to join the workshop of eleing, peter paul rubens. rubenscomplex compositions, such as these with their sculpturally modeled figures, greatly influenced the young artist. but even in van dyck's earliest works we see the artist's ow distinctive ylemerging. he painted this scene of st. jerome when heas about 16. instead of the heroic figures rens, van ck chose to show the hermit saint as a man past s prime. though van dyck based his composition on a work by ruben the young artist painted it difrently, applying his paint thickly with rough, broken strokes,

exaggerating the naturalism of the biblical scene. in another version of the same subjec painted just a few years later, van dyck portrays st. jerome in y a different manner. in a moment of deep religious fervor, the saint is about to strike his chest in penance ( o) this interesin psyogical intensity, human emotis, and cral momen wou mark v dyck'wo ughout h career. van dyck again looked to a work by rubens for inspiration. but once again, he interpreted the story in his own manner. van dyck chose to represent the moment just before the philistine clips samson's hair and robsim of his strength as delilah and the oer conspirators watch anxiously.

the composition may have seemed too compressed to a later owner: a strip was added along the upper edge to enlarge the pictorial space, of thecene. in this exhibition, disverd that changes were often made to van dyck's works. another ofhe artt's early religious paintings, "moses and the brazen serpent," was also altered, as we can see by comparing the size and format of the painting to a contemporary copy. compositional changes were also made by the painter himself. these pentimenti cane seen in van dyck's "martyrdom of st. sebasan by looking closely, it is possible to see a vague indication of the rider's ft as the artist origally placed it. diovering this change help to establish t authenticity

of this oil sketch and to identifit as van dyck's preliminary study. shows the original position of the soldier's foo over time, the surface paint became transcent, alwihe artiss earlier lution to become visible. in 1620, v dycspent four mons in england. there, he painted portits, such as this fanciful allegocal image on his return tont, he painted these portraits, which ce again revealed thyoung artist's sympathy for children and his unique sensitivity to the psychological character of his sitters. van dyck painted this portrait of rubens' wife a parng gt hi, tir garn. in the fall of 1621, van ck ltwerp sndix yrs in aly.

in ita e poet compositis and rich brushwork of the 16th-century master titian appealed to the flemish artist, as did his penetrating portraits. in a sketchbook that he kept as he traveled, van dyck recorded works by the venetian artist. these drawings would later provide ideas and inspiration. the influence titian had on van dyck's interpretation of the figure is evident in van dyck's painting of george gage, an englishman who was in ity to acquire works of ar gage's by not froal but inead turns in spa, making the composition bold and lifelike. the artist's own character and his attitude toward his art are revealed in this marvelous self-portrait,

painted shortly after dyck's arrival iitaly. as a contemporary wrote, "his manners were more of an aristocrat and he was resplendent in his rich dress and accessories." the young painter looks out at us, self-assured, certain of his position and confident in his ambitions. during his stay in the prosperous port city of genoa, van dyck received nurous commissions from its patrician society for portraits, as well as f mythological and legorical es. these infused with a caity ve different from compositions hhad made elegce and grace learned from titian marked theortraits van dyck created to araize genoese patrons, including his remarkable image the mchesa lena grimaldi. the marchesa sms to stride o onto patio. n dyck introces a new sense of movemt

to whahaen a traditionof rigid. van dyck's genoese portraits were intended to be hung up high, over doorsn palaces. because they were viewed from a distance, the artist painted them very thinly and very quickly. here, van dyck suggests the intricate fabric of theng b'sme inoaroofedndte, painted directly over the ochre ground. the mothern ofe solemn d a. the boy poses confidently, yeevenis aristoatic portrt van dyckntroduces a delicate tenderness. at the end of 1627, van dyck returned to antwerp. the rtraits he painted during this period reflect the solid bourois character ofhe sters.

of hisitters' complex personalitie in paired portraits, he explores the ti beeen huands and wives, and, once again, the relationship between parents and children. a wonderful naturalism marks van dyck's paintings during ts period. thfigures veryuch alive. this portrait of the butiful maria uisae tais is infed with an air of ease and informality. her marvelous, captivating gaze conveys the vibrancy and warmth of her being. this effect of immediacy

is underscored by van dyck's fluid brushwork, the way he paints her fashionable costume-- the slit sleeve and the delicate ribbons large-scale religious works were in demand by churches in antwerp, where the counter-reformatio had a ronghold anars met spire deep invvement in this large altarpiece, vadyck chose to focus on st. augustins reaction to his mystical vision. thsaint els ck, experiencing a moment of religious ecstasy before a vision of the holy trinity. by the wonderful angels that hover above holding symbols of god's power, uny and eternity.

van dyck's religiousls works from this peod encourage devotion with their intimate, tender images. intimacy and tendeess soinfuse, "rindo a aida." inspired by a 16th-century epic poem, the artist again chose to represent a romantic ratrthan . a water nymph has lulled one of the warriors to sleep wither singing. armida, a sorcess from the underworld, sweeps in to kill the helpless hero, but instead she fall deeply in love. commissied in 29

the work commoratee riage. van dyck w invited to england t. inngland, van dyck created works that conveyed the king's role as divine monarch and that, with his french queen henrietta maria, omoted an image of peace and harmony. in this double portrait of the king and queen, henrietta maria offers charles the laurel wreath of victory. she lds an olive sigrepres e these symbols alluded to the stability of theireign. an unusual portrait representing the monarch from three different positions was intended to be sent to the italian sculptor gian lorenzo bernini as a model for a bust of the king. not onlyn the sensitiv characterization of the kin,

t also in trtment ofhe erateostumes. seems to be infused with religious symbolism. it suggests the holy trinity's three persons in one god and conveys charles' claim to rule by divine right. in london, van dyck established large workshop to produce the enormous numb of portraits demanded by thcrown. he also worked for other members of the court andristocracy paintings of the earl of arundel, robert rich, and james stuart reflect the ambitions of van dyck's patrons as well as the courtly ideals of the time. in 1634, thertist turned to sthernetherlands,

hoping for more prgious histy commissions anpeaps an appntment as crt painter. there, he produced this magnificent equestrian portrait of the provisional governor,th. a more introsptive character pervades an image the prce's advisor the abbe scalia. van dyck portrays him as a commanding individual, experienced yet world-weary. at the artist's busy workshop, subjects posed for only a short time. they would leave behind costumes or armor so van dyck could complete the painting at his own convenience. around the head of scalia, we can see a kind of halo marking the area the artist painted from life. scalia himself commissnedthis n as an alrpce for a urchn antwerp. it is van dyck's last surviving religious painting.

in a conricted format, he presents the dead body of christ and captures the full pathos of mary's intense sorrow. ter spending about a year in fl van dyck returned to england in 1635 to resume his responsibilities as court pnter forharles i the tist cho an unusual oval format to emphasize the bond betwn enon porter...and himself. sugg the firmfoundation ofr loanng fridship.

van dyck onlremainingmythologik from his english period, probably painted for the king a qen, ishiwonderful poetic image representing the myth of cupid and psyche. psyche, a beautiful mortal, was sent by venus to the underworld to meet with persephone and bring back a box containing the secrets of her beauty. when the curious psyche opened the lid, she fellnto a deathlike trance van dyck depicts the moment cupid diovers her and reacdown to wipe the sleep from her eyes. ilawake to fall in ve witpid and be raitoimmortitby . one of t most poignant ofall os is tieship poraitofwo men broue to sre tragic ss.

om kilgrew res his arm on the base a brokecolumn, symbol of foitude and de in her memore bounr wedding ring to s ist and pinned cross over h hrt. in an image as eloquent as an elegiac sonnet, van dyck includes the wife's brother in the composition, as if to offer solace to killegrein his deepest gef. van dyck portrayedhe englishco, but thurt's ideals gave way to harsh realities. by the end of the 1630s, scotland was in revolt and the rule of charles i was threatened. ofan dycs last works ests theosen by charles the earl of strafford.

ortly after van dyck coleted this work the spring of 1640, the litical situation in england reached a cris. in 1641, the roy famywaforced e the earl of strafford was executed and civil war broke out. van dyck, himself in ill health, died later that same year at the age of only 42. the artist's legacy, his elegant portraits the ialtic english urt and cotis-- van dyck's mos works-- would influence painters for generaons. here we have discovere only a few of the paintings from van dyck's remarkable career: ambitious compositions fmhis e; works produced during his six-year sojourn in italy,

marked by the elegance and grace; magnificent religious paintings for the english king charles i tender mythol works; as well as images that served to define the english court for future generations. van dyck's portraits revealed the artist's unique sensitivity to the character of his sitters, his ability to capture the innocence of children, and to suggest bonds between family members. the exhibition its revealed how very ri the artistic legacy of the flemish master, in fact, is and has allowed us to truly appreciate in a new way the contribution of this great master, sir anthony van dyck. ( music )

annenberg media ♪ by: narrador: en este episodio raquel y arturo siguen con la búsqueda de angel el hijo de rosario y fernando.