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...peculiar achievement of Sir Anthony van Dyck was to have invented the English gentleman-not the mild, knobbly, pink creature one sees beneath its bowler in the street, but the now vanishing archetype of aristocracy, calm and straight as a Purdey gun barrel, with the look of arrogant security guaranteed to paralyze all lesser breeds from Calais to Peshawar. This invention began in 1632, when Van Dyck, an ex-assistant of the greatest court painter of his age, Peter Paul Rubens, arrived in London. It ended with his death at the age of 42, in 1641. In between came seven...

Author: /time Magazine | Title: Art: Dramas of Self-Presentation | 1/10/1983 | See Source »

...London, a show of masterly formal portraits by Van Dyck...

Author: /time Magazine | Title: Art: Dramas of Self-Presentation | 1/10/1983 | See Source »

...decide how best to evade Uncle Sam. When he marches off to Southeast Asia, presumably to die for an empty cause, confusion overshadows the intended irony. Lost also are the characterizations of several of the more prominent female roles, especially those played by Andrea Trisciuzzi and Jennifer Van Dyck...

Author: By Paul M. Barrett, | Title: Hair For Its Own Sake | 7/20/1982 | See Source »

...early figures of Heneage Lloyd and His Sister, round-eyed adolescents in a rococo garden, look like large pale dolls haunting an artificial landscape. Confidence came with his absorption of the grand manner. With access to the big houses, the young painter could see the work of Rubens, Van Dyck and Claude. He rapidly learned to deal with the social mask. Those pink, smooth, patrician egg faces, the men a little knobbly of jaw and hooded of eyelid, with their "cold pleasant stares" (as Henry James would say of the English gentleman) are emblems of sensibility and composure...

Author: /time Magazine | Title: Art: Laureate of the Ruling Classes | 10/27/1980 | See Source »

...clients-Paul-César Helleu, Jacques-Émile Blanche, Anders Zorn. In England and America, the most successful of all these virtuosos was John Singer Sargent, who became to the British Empire what Velásquez had been to the Habsburg court of Madrid or Sir Anthony van Dyck to Charles I: the official portraitist par excellence, the unrivaled chronicler of male power and female beauty at the top of the social heap. Sargent paid the penalty of success after he died in 1925. Reputations like his were exactly what the English defenders of modernism, starting with Roger...

Author: /time Magazine | Title: Art: Mirror, Mirror on the Wall | 12/3/1979 | See Source »

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