Anthony van Dyck

Objectcategorie

Fysiek verband Verwijzing bij 'samengestelde kunstwerken': werken die een geheel vormen of vormden, zoals altaarstukken, decoratieve stukken uit een betimmering of werken die bedoeld waren om samen te worden getoond, zoals pendanten en reeksen.

Peter Paul Rubens, Ixion, koning van de Lapiden, bedrogen door Hera (Juno)

was paired with this picture by Rubens between 1722 and 1783

Drager/materiaal

doek, olieverf
Fine plain-weave linen canvas. The support is made up of five pieces of canvas: one large piece of canvas is attached at the top to an addition made up of two pieces of middle-weight canvas joined in the centre; these appear to be original. Above this there is a later addition of approximately 14 cm. The ground layers on this addition and the original are so similar it seems that they are of the same period, although added after the painting was first completed. Whether it was added by Van Dyck cannot be ascertained. Old tack holes are visible along the bottom edge, suggesting that the composition was also extended a little at the bottom; the lower tacking edge became part of the picture surface only after previous lining. The grey ground is visible along the bottom and has been employed for the mid-tones of Samson’s flesh and elsewhere. There are several pentimenti, including the soldier’s lance and Delilah’s proper right shoulder. Glue-paste double-lined. The original tacking edges are still present. There is a mended tear in the proper right leg of the barber. There are several areas of wrinkling caused by drying defects. Previous recorded treatment: 1990–91, relined, S. Bobak; surface cleaned, old retouchings removed, retouched, revarnished, H. Lank (Sophia Plender).

Vorm/maten

liggende rechthoek 149 x 229.5 cm
the painting seems to have been cropped, as the composition is cramped. A copy in a German private collection also shows more of the composition to the left, bottom and top (Barnes et al. 2004)

Huidige toeschrijving: Anthony van Dyck
since Cust 1900
Verworpen toeschrijving: Peter Paul Rubens
between 1786 and 1876 this picture was said to be made by Rubens; in Richter/Sparkes 1880 the first doubt is expressed
: school van Peter Paul Rubens
in Richter/Sparkes 1892 and 1905

Datering Exacte of globale datering van het kunstwerk; de zoekmarges van het werk in deze database staan tussen haakjes.: ca.1617-1621 (1617 - 1621)

Bergvelt/Jonker 2016: 1618-1621; cat. Madrid 2012: 1618-1620 (but 1617 is also mentioned on p. 174)
Vervaardigd in: Antwerpen (stad) NB: Sluijter 2015 suggests made in Venice for Lucas van Uffelen, but see Jonker/Bergvelt 2021

Onderwerp

Titel Titel of de benaming van het kunstwerk. Deze kan verschillen van de titel die in (recente) publicaties wordt gegeven.: Simson, slapend in Delila's schoot, worden de haren afgeknipt (Richteren 16:19)
Engelse titel: Samson sleeping in Delilah's lap is being shorn of his hair (Judges 16:19)
Genre: historie (genre)
Onderwerpstrefwoorden: oude testament & apocriefen, haar knippen, slapen, schaar, vrouwenlist, ontblote vrouwenborst, man, toekijken, soldaat, zuil, architecturale omlijsting, oude vrouw, fluweel, omslagdoek
Iconclass-code Iconclass-codes en tekstcorrelaten bevatten specifieke scènes en namen. Een Iconclass-code of -notatie is een code uit het veeltalige Iconclass systeem voor onderwerpsontsluiting. Voor meer informatie, zie www.iconclass.nl.: 71F375
Samson asleep in Delilah's lap; she is usually shown beckoning to a Philistine or putting a finger to her lips
33C1
pernicious influence of women, 'femmes fatales'

Artistiek verband met ander werk Zoals een voorbereidende tekening, vergelijkbare compositie, andere versie, herhaling of kopie van het hier beschreven kunstwerk.

gebaseerd op
Anthony van Dyck, Samson en Delilah (Richteren 16:19)
preparatory study, Bergvelt/Jonker 2016, p. 81
gebaseerd op
Anthony van Dyck, Samson en Delilah (Richteren 16:19)
preparatory study, Bergvelt/Jonker 2016, p.81
gebaseerd op
Anthony van Dyck, Liggende mannelijk torso, op de rug gezien
possibly
geïnspireerd op
Peter Paul Rubens, Simson slapend in Delila's schoot terwijl een Philistijn zijn haarlok afknipt (Richteren 16:19)
iconographical and stylistical resemblance, Bergvelt/Jonker 2016, p. 82
geïnspireerd op
Peter Paul Rubens, Terwijl Simson slaapt in Delila’s schoot, knipt een Filistijn zijn haar af (Richteren 16:19)
iconographical and stylistical resemblance, Bergvelt/Jonker 2016, p. 80
geïnspireerd op
Jacob Matham, Terwijl Simson slaapt in Delila’s schoot, knipt een Filistijn zijn haar af (Richteren 16:19)
iconographical and stylistical resemblance; it was wrongly stated in some Dulwich catalogues that Matham's print had been made after DPG127 (for instance in Sparkes 1876, Cook 1914 and 1926), Bergvelt/Jonker 2016, p. 80 and 2020.
geïnspireerd op
after Michelangelo Buonarroti, Madonna in stilte
possibly; iconographical resemblance: angel with pointing finger, see Bergvelt/Jonker 2020
motief/motieven overeenkomstig met
Gerard van Honthorst, Terwijl Simson slaapt in haar schoot, knipt Delila zijn haar af (Richteren 16:19)
old woman with pointing finger and Delilah cutting Samson's hair, see Bergvelt/Jonker 2020
motief/motieven ontleend aan
Hans Brosamer, Samson en Delilah
ewer and position of the Philistine, see Bergvelt/Jonker 2016, p. 82
motief/motieven overeenkomstig met
Peter Paul Rubens, H. Ambrosius verhindert keizer Theodosius de kathedraal van Milaan te betreden
the gold-brocaded silk velvet, see Bergvelt/Jonker 2020 and Monnas 2008
motief/motieven overeenkomstig met
Anthony van Dyck, St. Ambrosius en Theodosius
the gold-brocaded silk velvet, see Bergvelt/Jonker 2020 and Monnas 2008
motief/motieven overeenkomstig met
Anthony van Dyck, Het mystieke huwelijk van de H. Catharina van Alexandrië
the gold-brocaded silk velvet, see Bergvelt /Jonker 2020 and Monnas 2008
als voorbeeld gebruikt voor
after Anthony van Dyck, Delila laat het haar van Simson afknippen (Richteren 16:19-22)
see Bergvelt/Jonker 2020
als voorbeeld gebruikt voor
after Anthony van Dyck, Terwijl Simson slaapt in Delila’s schoot, knipt een Filistijn zijn haar af (Richteren 16:19)
see Bergvelt/Jonker 2020
als voorbeeld gebruikt voor
William Hilton (II), Samson en Delila (naar Van Dyck)
see Bergvelt/Jonker 2020
gedeeltelijk als voorbeeld gebruikt voor
William Hilton (II), Samson en Delilah
only three figures are copied: Samson, Delilah and one of the Philistines, see Bergvelt/Jonker 2020
als voorbeeld gebruikt voor
Alexandre Evariste Fragonard, Simson, slapend in Delila's schoot, worden de haren afgeknipt (Richteren 16:19)
motief/motieven overeenkomstig met
Jan Lievens, Terwijl Simson slaapt in Delila’s schoot, wenkt zij de Filistijnen naderbij om zijn haar af te knippen (Richteren 16:19)
same subject and composition, see Bergvelt/Jonker 2020
motief/motieven gebruikt in
Christiaen van Couwenbergh, Terwijl Simson slaapt in Delila’s schoot, knipt een Filistijn zijn haar af (Richteren 16:19)
the composition in general and the silencing finger of Delilah, see Bergvelt/Jonker 2016 p.82
motief/motieven overeenkomstig met
Willem de Poorter, Samson en Delila
pointing finger, see Bergvelt/Jonker 2020
gedeeltelijk als voorbeeld gebruikt voor
Pieter Soutman, Samson en Delilah
standing barber and Delilah with silencing finger (lying man en standing woman in reverse), see Bergvelt/Jonker 2016 p. 82
motief/motieven overeenkomstig met
Jan Victors, De gevangenneming van Simson nadat Delila zijn lokken heeft geknipt (Richteren 16:20-21)
similar composition, see Bergvelt/Jonker 2020
gedeeltelijk als voorbeeld gebruikt voor
Anoniem, Terwijl Simson slaapt in Delila’s schoot, knipt een Filistijn zijn haar af (Richteren 16:19)
Delilah with pointing finger, see Bergvelt/Jonker 2020
motief/motieven overeenkomstig met
Jan Steen, Terwijl Simson slaapt in Delila’s schoot, knipt een Filistijn zijn haar af (Richteren 16:19)
cf. instrument of the barber, see Bergvelt/Jonker 2020
motief/motieven overeenkomstig met
Gerrit de Wet, Simson, slapend in Delila's schoot, worden de haren geknipt (Richteren 16:19)
Delilah with pointing finger, see Bergvelt/Jonker 2020
motief/motieven overeenkomstig met
Gerrit de Wet, Simson, slapend in Delila's schoot worden de haren geknipt (Richteren 16:19)
Delilah with pointing finger, see Bergvelt/Jonker 2020
motief/motieven overeenkomstig met
school of Peter Paul Rubens, Simson slapend in Delila's schoot worden de haren afgeknipt (Richteren 16:19)
Delilah with pointing finger

Collectie(s)

private collection David Amourij, Amsterdam
cf. Barnes et al. 2004. see also Duverger 2004, p. 85, Letter from Quirijn van Biesum (Rotterdam) to Francisco-Jacomo van den Berghe (Ghent), 4 April 1710: ‘ik crige schrifens van Amsterdam dat Blok [art dealer Jan van der Block] heeft sijnen Samson vernegotieert aen d’heer Amorij’ (I am written from Amsterdam that Blok has sold his Samson to Mr. Amorij). On 17 March 1711 Uffenbach visits De Amory
1711 - 1722-06-23
private collection Gregory Page (Sir), Greenwich (London)
before 1767
1767 - 1783-05-26 before 1767 (Barnes at al. 2004)
Noel Joseph Desenfans, London
bequeathed to the next, as (erroneously) by Rubens
Not sold in his auction on 8 April 1786. List of Pictures to be sold, early 1790s; p. 5, Dressing Room: no. 170: ‘Rubens; Samson & Dalila; 800 [gs]’], see Warner 1881, p. 223-7, Mss: XVI. fol. 50v. £800 (Sampson and Deliah; Rubens) Evening Mail inventory 1790-91 (Rubens); Probably not in sale Reynolds 1795; Not in Desenfans 1802; Insurance List 1804, fol. 50v, no. 99 (Rubens; £800)
1783-05-26 - 1807
private collection Sir Francis Bourgeois, London
Desenfans Bequest
1807 - 1811
Dulwich Picture Gallery, Dulwich (London) , inv./cat.nr DPG127
Bourgeois Bequest
Britton 1813, p. 24, no. 236 (‘Drawing Room, no. 24; Sampson and Delila with Warriors &c . C. [= canvas] Rubens’; 6.6; 9.10).
1811 - Lent to the RA to be copied in 1817, 1818 and 1835.

Veiling(en)

, Amsterdam (stad), De Amory, 1722-06-23, lotnr. 1
Inbrenger: David de Amory

as by A. van Dyck. offered with lot 2 Rubens Ixion (now in the Louvre, see RKD no. 198003) as a pair http://bibliotheque-numerique.inha.fr/collection/item/16865-catalogus-van-schilderyen-van-de-amory-vente-du-23-juin-1722?offset=2
Bertels (London (England)) 1783-05-26 - 1783-05-28, lotnr. 76
Inbrenger anonymous sale Estate Sir G. Page
Naam koper : Desenfans

, (Lugt 3586), (Anthony van Dyck); annotation by Sir Abraham Hume in his catalogue of the sale (now at Courtauld): ‘Now at Dulwich College 1819’; probably bought by Desenfans;
Christie (London (England)) 1785-05-11 - 1785-05-14, lotnr.
Inbrenger Desenfans

, not in this sale
Committee appointed by Mons. Desenfans (London (England)) 1786-04-08 - 1786-05, lotnr. 174
Inbrenger Desenfans sale
Naam koper : sold or bought in , 1000.0.0 Lsd

, (Lugt 4022), (erroneously as by Rubens; Sampson and Dalilah; out of Sir Gregory Page's collection; on canvas, 6' 2" h x 8' 9" [includes the frame]. Sold or bought in.
Private Contract (London (England)) 1786-06-08 - 1786-07, lotnr. 137
Inbrenger Desenfans private sale

, (Lugt 4059a), (Rubens; same description);
Christie (London (England)) 1786-07-13 - 1786-07-17, lotnr. 41
Inbrenger Desenfans sale

, (Lugt 4071), Rubens; same description; withdrawn
Skinner & Dyke (London (England)) 1795-02-24 - 1795-02-28, lotnr. 109
Inbrenger Desenfans sale
Naam koper : 300 Gs sold or bought in , 300 guinea

, (Lugt 5281), Rubens; ex Page. Probably not lot 64 (Van Dyck; Samson and Delilah); transaction unknown

Tentoonstellingen

Some pictures from the Dulwich Gallery National Gallery [London] , London (England) , 1947 - 1948 , n.p, no. 1, London/Leeds 1947-1953
Flemish art, 1300-1700 Royal Academy of Arts , London (England) , 1953-12-05 - 1954-03-06 , p. 76, no. 228
Anthony van Dyck National Gallery of Art [Washington] , Washington (D.C.) , 1990-11-11 - 1991-02-24 , p. 22–23, 103–5, no. 11 (S. J. Barnes)
Van Dyck 1599-1641 Koninklijk Museum voor Schone Kunsten Antwerpen , Antwerp (city) , 1999-05-15 - 1999-08-15 , p. 136–139, no. 21 (C. Brown) [nb also in Illustrated Guide with 30 other selected paintings], Antwerp/London 1999
The young Van Dyck Museo Nacional del Prado , Madrid (city, Spain) , 2012-11-20 - 2013-03-03 , p. 172–175, no. 29 (J. J. Pérez Preciado), c. 1618-1620

Literatuur

Hoet 1752 , vol. 1, p. 259, no. 1 (Van Dyck); 4300 guilders (see under PROV.);
Von Uffenbach 1753-1754 , vol. 3, p. 645
Smith 1829-1842 , not in Smith, vol. 2, 1830, p. 291, no. 1009 (the print by Matham is; RKD, no. 27850; Related works, no. 3d; Fig.)
Jameson 1842 , vol. 2, p. 469, no. 168
Sparkes 1876 , p. 150–51, no. 168 , Rubens; Engraved by Matham
Richter/Sparkes 1880 , p. 144, no. 168 , painted in the style of Rubens by his scholars or imitators
Richter/Sparkes 1892 , p. 32, no. 127 , School of Rubens NB: in 1892 the pictures got the inventory numbers they still have
Cust 1900 , p. 69, 246, no. 3 (Van Dyck; after 1627)
Richter/Sparkes 1905 , p. 32, no 127 , School of Rubens
Bode 1906 , p. 264 , Van Dyck, very early
Schaeffer 1909 , p. 21 (ill.), 496
Cook 1914 , p. 75, no. 127 , Van Dyck; Matham print
Cook 1926 , p. 71, no. 127 , Matham print
Glück 1931 , p. xxvii, 13 (ill.), 518
Glück 1933 , vol. 1, p. 282, 283 (fig. 160), 285
Evers 1943 , p. 165
Blunt/Burchard/Waterhouse 1953 , p. 40, no. 127
Gerson/Ter Kuile 1960 , p. 113–114
Vey 1962 , vol. 1, p. 73–6, under nos. 2 and 3, vol. 2, figs. 2-4
Pigler 1974 , vol. 1, p. 131
Kirschenbaum 1977 , p. 79, 113, under no. 10 (Jan Steen)
Martin/Feigenbaum 1979 , p. 57–58 (fig. 13), under no. 9
Larsen 1980 , vol. 1, p. 89–90, no. 72
Held 1980 , vol. 1, p. 432, under no. 312 (Rubens)
Murray 1980 , p. 53–54, no. 127
Murray 1980A , p. 13, no. 127
MacNairn 1980 , p. 56–58, under no. 15 (Related works, no. 2b), p. 285 (fig. 36)
Brown 1982 , p. 32–34 (pl. 22)
Brown 1983B , p. 17 (fig. 12)
Lenz 1985 , p. 147 (c. 1616)
Larsen 1988 , vol. 1, p. 156 (fig. 72); vol. 2, p. 424, no. A 38 , 18th century copy
d'Hulst/Vandenven 1989 , p. 112, under no. 31 (Related works, no. 3c);
Huvenne 1990 , H. Vlieghe, ‘Evolutie van de Antwerpse monumentale historie- en portretschilderkunst ten tijde van Jan Boeckhorst’, p. 54 (fig. 24), also in the German edition of the catalogue.
Brown 1991A , p. 73 (fig. 1), under no. 9 (Related works, no. 2b), 96, under no. 17; Howarth 1991, p. 39
Beresford 1998 , p. 98, no. 127
White 1999B , p. 634
Depauw/Luijten 1999 , p. 306, under no. 41 (Related works, no. 18b)
Jaffé 2002 , vol. 1, p. 131 (fig. 5)
Duverger 2004 , p. 85 , Letter from Quirijn van Biesum (Rotterdam) to Francisco-Jacomo van den Berghe (Ghent), 4 April 1710: ‘ik crige schrifens van Amsterdam dat Blok [art dealer Jan van der Block] heeft sijnen Samson vernegotieert aen d’heer Amorij’ (I get a letter from Amsterdam that Blok has sold his Samson to Mr. Amorij).
Barnes et al. 2004 , I.5
Barrett 2012 , p. 99, 339 (fig. 40)
Vergara/Lammertse 2012 , p. 43-44, 100 , (n. 9, F. Lammertse, under no. 3); Logan 2012, pp. 168–71, under nos. 27–8 (Related works, nos. 2a–b; Figs.); 180, under no. 31verso (Related works, no. 7a)
Fritzsche/Leonhard/Weber 2013 , p. 242–243 (fig. 1) , article of Fritzsche
Sluijter 2015 , p. 43, 45–46 (fig. IIA–44), 409 (n. 126), 410 (notes 127-8) (painted in Venice for Lucas van Uffelen? See portrait RKD 54761 in MMA)
Bergvelt/Jonker 2016 , p. 80–83, 91

Uffenbach 1753-1754, Z.C. von Uffenbach, Merkwürdige Reisen durch Niedersachsen Holland und Engelland, 3 vols., Ulm/Memmingen 1753 (vols. 1 and 2) and Ulm 1754 (vol. 3), vol. 3, p. 644–645 (visits De[s] Amory on March 17, 1711: Van Dyck)
Martyn 1766, [T. Martyn,] The English connoisseur: containing an account of whatever is curious in painting, sculpture, &c. In the palaces and seats of the nobility and principal gentry of England, both in town and country (...), 2 vols., London 1766, vol. 1, p. 59, vol. 2, p. 91; (see also Martyn 1767, vol. 2, p. 59)
Henry Fuseli in his Fifth Lecture, c. 1802, in Fuseli & Knowles (ed) 1831, The life and writings of Henry Fuseli, Esq. M.A. R.A., keeper, and professor of painting to the Royal Academy in London; member of the first class of the Academy of St. Luke at Rome. The former written, and the latter edited by John Knowles, F.R.S., corresponding member of the Philosophical Society at Rotterdam, his executor, 3 vols., London 1831
Cat. 1817 [copy in RM: 453 D 62], R. Cockburn, Catalogue of the collection of pictures bequeathed to Dulwich College by the late Sir Francis Bourgeois, 356 nos. [Prospectus of the Cockburn prints, bound with the catalogue, dated ‘Oct. 1817’], p. 8, no. 113 (Second Room - West Side; Sampson and Dalilah; Rubens)
Haydon 1817, [B. R. Haydon], ‘Art. X. Descriptive and critical catalogues of the most splendid collections of works of art in Great Britain. Catalogue of the pictures bequeathed to God’s Gift College, Dulwich, in the County of Surrey, by the late Sir Francis Bourgeois, R.A. &c. &c. as they are now arranged in the new Gallery erected for their reception; with brief remarks on some of the most interesting’, Annals of the Fine Arts for MDCCCXVI [1816], 1 (1817), p. 379-380, no 113 (Rubens)
Cat. 1820, R. Cockburn, Catalogue of the Collection of Pictures Bequeathed to Dulwich College by the late Sir Francis Bourgeois, 356 nos. [c. 1820 – in NAL, London, 79A], p. 8, no. 113 (Rubens)
Patmore 1824b, [P. G. Patmore], Beauties of the Dulwich Picture Gallery, London 1824, p. 27–28, no. 112 (Rubens)
Hazlitt 1824, [W. Hazlitt,] Sketches of the principal picture-galleries in England. With a criticism on “Marriage a-la-mode”, London 1824 , p. 34
Cat. 1830, Catalogue of the Collection of Pictures Bequeathed to Dulwich College by the late Sir Francis Bourgeois, London n.d., 355 nos. [c. 1830 + annotations NAL, London, 79A], p. 9, no. 168
Cat. 1831–3, Catalogue of the Collection of Pictures Bequeathed to Dulwich College by Sir Francis Bourgeois, London n.d. [355 nos. + the Linley pictures; c. 1831–3; annotated and dated 27 June 1833; ex. DPG]; the author has signed as E. (or C?) Carson, p. 9, no. 168 (‘huge & haggish’)
Hazlitt 1843, W. Hazlitt, Criticisms on Art, and Sketches of the Picture Galleries of England. With catalogues of the principal galleries, now first collected. Ed. by his son, London 1843, p. 27
Bentley’s 1851, ‘The Dulwich Gallery’, Bentley’s Miscellany 30 (July 1851), p. 347
Denning 1858, S. P. Denning [assisted by the Rev Stephen Denning], ‘A Catalogue of the Dulwich Gallery’ (MS, DPG archive; unfoliated; picture numbers up to no. 366; list of works of reference; list of artists’ names), no. 168 (Rubens)
Denning 1859, S.P. Denning [assisted by the Rev Stephen Denning], ‘MS. of a new catalogue of the pictures in the Dulwich Gallery’ (MS, DPG archive; unfoliated; picture numbers up to no. 202); essentially a neater version of Denning 1858, no. 168
Lavice 1867, A. Lavice, Revue des musées d'Angleterre. Catalogue raisonné des peintures et sculptures exposées dans les galeries publiques et particulières et dans les églises. Précédé d'un examen sommaire des monuments les plus remarquables, Paris 1867, p. 181 (Rubens, no. 4)
Hymans 1899, H. Hymans, ‘Antoine van Dyck et l’exposition de ses œuvres à Anvers (…)’, I and II, Gazette des Beaux-Arts 41/22 (1899), (I), p. 228 (Van Dyck)
Bode 1909, W. von Bode, transl. by M. L. Clarke, Great masters of Dutch and Flemish painting, London 1909 [transl. of the rev. edn. of Bode 1906a], p. 308 (n. 1)
Rosenbaum 1928, H. Rosenbaum, ‘Der junge van Dyck (1615–21)’. Ph.D. Ludwig-Maximilian University, Munich 1928, pp. 56–7 (Tintoretto influence?)
Waterhouse 1938 (paintings catalogued by) E.K. Waterhouse, F. Dodd & H. Isherwood; (drawings & engravings by) A.E. Popham, A.E. Richardson, L. Ashton & M.N.F. Stewart, (preface by) W. Llewellyn, Catalogue of the exhibition of 17th century art in Europe 1938, London 1938 [exh. RA, London], p. 42, no. 68; see also Illustrated Souvenir 1938, p. 21, no. 68
Grossmann 1948, F. Grossmann, ‘Rubens et Van Dyck à la Dulwich Gallery’, Arts plastiques 2 (1948), p. 57-58 (fig. 41)
Paintings 1954, Paintings from the Dulwich College Picture Gallery, London 1954, pp. 24, [60]
Vey 1955 H. Vey, ‘Van-Dyck-Studien’, Ph.D. Cologne University 1955, p. 43–51, 59 (notes 12–13)
D’Hulst & Vey 1960, R.-A. d’Hulst and H. Vey, Antoon van Dyck. Tekeningen en olieverfschetsen, Antwerp 1960 [exh. Rubens House, Antwerp/BvB, Rotterdam], p. 40, under no. 4 (Related works, no. 2b; Fig.)
Van Puyvelde, Lebeer & Jansen 1965, L. Van Puyvelde, L. Lebeer, A. Jansen et al., De eeuw van Rubens, Brussels 1965; also in French: Le Siècle de Rubens [exh. Brussels, Musées Royaux Beaux-Arts] Van Puyvelde, Lebeer & Jansen 1965, p. 298, under no. 315 (L. Van Puyvelde; Related works, no. 2b; Fig.)
Jaffé 1969a, M. Jaffé, ‘Rediscovered oil sketches by Rubens: [sic] I’, Burl. Mag. 111 (1969), p. 436 (n. 7)
Kahr 1972, M. Kahr, ‘Delilah’, Art Bulletin 54 (1972), p. 296 (n. 53)
Hughes 1977, J. Hughes, ‘“For a woman’s charms are the greatest there are, and defeated even him whom the great world could not defeat.”’, Preview. City of York Art Gallery Bulletin, 30 (May 1977), p. 1029 (fig.), 1030–1 (about Soutman 1642; Related works, no. 15k)
Ostrowski 1977/1981, J.K. Ostrowski, Van Dyck et la peinture génoise du XVIIe siècle aux sources du Baroque dans un milieu artistique italien, Krakow 1977 (Ph.D. thesis Un. Jagiellonski; published in 1981), p. 39 (n. 94)
Hubala 1979b, E. Hubala, ‘Figurenerfindung und Bildform bei Rubens. Beiträge zum Thema: Rubens als Erzähler’, in E. Hubala (ed.), Rubens. Kunstgeschichtliche Beiträge, Konstanz 1979 (Persönlichkeit und Werk, iv), p. 165, n. 85
E. Larsen, Alle tot nu toe bekende schilderijen van Van Dyck, Rotterdam 1980, p. 110, no. 269 (‘not authentic’, after an original of c. 1616)
Stewart 1981, J.D. Stewart, review of McNairn 1980, Burl. Mag. 123 (1981), p. 120
Millar 1982, O. Millar, Van Dyck in England, London 1982 [exh. National Portrait Gallery, London 1982–3], p. 13 (fig. 6), 43, under no. 3
Martin 1983a, G. Martin, review of Adler 1982, Burl. Mag. 125 (1983), p. 38 fig. 3
Martin 1983b, J. R. Martin, ‘The Young van Dyck and Rubens’, Revue d’Art canadienne/Canadian Art Review (RACAR) 10/1 (1983), pp. 37–43; also in Essays Van Dyck 1983, p. 38, fig. 3
Liedtke 1985, W. A. Liedtke, Anthony van Dyck, New York 1985 (Reprinted from The Metropolitan Museum of Art Bulletin, Winter 1984/85), p.10 (fig. 6)
Waterfield 1985/1994 , ‘Introduction’, in G. Waterfield and Chr. Brown, Collection for a King: Old Master Paintings from the Dulwich Picture Gallery, London 1985 [exh. DPG/NGA, Washington/Los Angeles, County Museum of Art 1985–1986], p. 20-21 (ill.)
Stewart 1986, J.D. Stewart, review of Brown 1982, Revue d’Art Canadienne/Canadian Art Review 13 (1986), p. 138–141 (fig. 1-2)
Stewart 1988,J. D. Stewart, review of D. Freedberg, The Life of Christ after the Passion (Oxford 1984), RACAR Revue d’art canadienne/Canadian Art Review 15/1 (1988), 74-75
Jaffé 1991, M. Jaffé, ‘Washington. Van Dyck at the National Gallery of Art’, review of Washingon 1990, Burl. Mag. 133 (1991), pp. 142–4, no. 11 (drawing in BvB could be added to the preparatory material, see Related works, no. 7b)
E. Larsen, ‘Das erste Porträt des Grafen von Arundel und andere Vandyckiana I’, Jaarboek Koninklijk Museum Schone Kunsten Antwerpen 1992, p. 173 (18th-century copy)
Billeter 1993, F. Billeter, Zur künstlerischen Auseinandersetzung innerhalb des Rubenskreises. Eine Untersuchung am Beispiel früher Historienbilder Jakob Jordaens’ und Anthonis van Dyck, Frankfurt etc. 1993, p. 85, 119–28, 174 (no. 16, fig. 12)
Held 1994, J. S. Held, ‘Van Dyck’s relationship to Rubens’, in S. J. Barnes and A. K. Wheelock Jr. (eds.), Van Dyck 350, Washington/Hanover, N.H./London 1994 (Studies in the history of art, 46; Symposium papers, 26), p. 72-73 (fig. 8)
Brown 1994, C. Brown, ‘Anthony van Dyck at work: “The Taking of Christ” and “Samson and Delilah,”’ Wallraf-Richartz-Jahrbuch. Jahrbuch für Kunstgeschichte 55 (1994), p. 43–53 (fig. 7; fig. 8 X-ray)
White 1995, C. White, Anthony van Dyck. Thomas Howard, the Earl of Arundel, Malibu (Cal.) 1995 (Getty Museum Studies on Art), p. 39, fig. 30
Jaffé 1996, M. Jaffé, ‘Dyck [Dijck], Sir Anthony [Anthonie; Antoon] van’, in Turner 1996, ix, p. 485 (Incorporated knowledge of Belvedere Torso ... and the Borghese Hermaphrodite ...)
Graham-Dixon 1996 , A. Graham-Dixon, ‘Rubens and Van Dyck’, in idem, Paper museum. Writings about painting, mostly, London [1996], p. 302–307
Boggero & Manzitti 1997, F. Boggero and C. Manzitti, ‘L’eredità di Van Dyck a Genova’, in S. J. Barnes, P. Boccardo, C. di Fabio and L. Tagliaferro, Van Dyck a Genova. Grande pittura e collezionismo, Milan 1997 [exh. Palazzo Ducale, Genoa], p. 122 (fig. 135), 123, 131 (n. 59)
Van der Stighelen 1998, K. Van der Stighelen, Van Dyck, Tielt 1998, p. 40-45, no. 1.1 (with color details)
R. Harris et al., Paintings from Dulwich Picture Gallery, [London] 1999 [leaflet; exh. Lothbury Gallery, NatWest Group, London], n.p., 1618–9
G. Waterfield, F.C. Serraller and I. Dejardin, Obras Maestras de la Dulwich Picture Gallery, Madrid 1999 [exh. Banco Bilbao Vizcaya, Madrid/Museo de Bellas Artes, Bilbao], p. 110–112, no. 22 (I. Dejardin)
Lawson 1999, J. Lawson, Van Dyck. Paintings and drawings, Munich/London/New York 1999, p. 42, 47, 50-51 (fig)
Peeters 1999, M. Peeters, ‘Antoon van Dyck’, Openbaar Kunstbezit in Vlaanderen 37/2 (1999), p. 19
Keith 1999, L. Keith, ‘The Rubens Studio and the Drunken Silenus supported by Satyrs’, National Gallery Technical Bulletin 20 (1999), p. 101 (fig. 6), 102
Döring 1999, T. Döring, Van Dyck und sein Kreis. Zeichnungen und Druckgraphik aus den Kupferstichkabinett des Herzog Anton Ulrich-Museums, Brunswick 1999, p. 33, under no. 14 (Related works, no. 13a; RKD. no. 101456)
Stewart 2000, J. D. Stewart, ‘Reflections on eroticism, love and the antique in Van Dyck’s art’, Apollo 152 (Aug. 2000), p. 26, 31 (n. 5)
Bleyerveld 2000, Y. Bleyerveld, Hoe bedriechlijk dat die vrouwen zijn. Vrouwenlisten in de beeldende kunst in de Nederlanden circa 1350–1650, Leiden 2000, p. 291 (n. 85)
Healy 2001a F. Healy, ‘Images of The Madonna and Child and The Holy Family in Van Dyck’s œuvre’, in H. Vlieghe (ed.), Van Dyck 1599–1999. Conjectures and Refutations, Turnhout 2001, p. 109 (n. 5)
Jaffé 2001 D. Jaffé, ‘New thoughts on Van Dyck’s Italian Sketchbook’, Burlington Magazine 143 (2001), p. 614
Healy 2004, F. Healy, ‘Das Unerwartete wahrnehmen, da zu Erwartende interpretieren: Die Liebe sehen, wie Rubens sie malte’, in N. Büttner and U. Heinen et al., Peter Paul Rubens. Barocke Leidenschaften, Munich 2004 [exh. Herzog-Anton-Ulrich-Museum, Brunswick], p. 40 (fig. 2)
Martin 2004, G. Martin, review of Klessmann 2003, Burlington Magazine 146 (2004), p. 180
De Poorter 2004, N. De Poorter, ‘Van Dyck in Antwerp and London. The first Antwerp Period’, in Barnes, De Poorter, Millar & Vey 2004, pp. 23-4, no. I.5
Vlieghe, Stroo & Van Gelder 2004, H. Vlieghe, C. Stroo and H. van Gelder, Vlaamse meesters. Zes eeuwen schilderkunst, Leuven/Zwolle 2004, p. 144 (fig.)
Bungarten 2005, G. Bungarten, J. H. Füsslis (1741–1825) “Lectures on painting” [sic]. Das Modell der Antike und die moderne Nachahmung, Berlin 2005, vol. 1, p. 178, 182, 183 (note*), color pl. XIII; vol 2, p. 341–342
Miedema 2006, H. Miedema, Denkbeeldig schoon. Lambert ten Kates opvattingen over beeldende kunst. Tekstuitgaven met commentaar, 2 vols., Leiden 2006, vol. 2, p. 155, n. 4
Monnas 2008, L. Monnas, Merchants, princes and painters. Silk fabrics in Italian and Northern paintings, 1300–1550, New Haven/London 2008, p. 260-63
Salomon 2010, X. F. Salomon, Masterpieces of European Painting from Dulwich Picture Gallery, NewYork 2010 [exh. The Frick Collection, New York], p. 26–29, no. 1 (1618–20)
Logan 2012, A.-M. Logan, ‘Anthony van Dyck: His Early Drawings during the First Antwerp Period’, in Vergara & Lammertse 2012, pp. 74–91 pp. 168–71, under nos. 27–8 (Related works, nos. 2a–b; Figs.); 180, under no. 31verso (Related works, no. 7a)
M. Jonker and E. Bergvelt, Catalogue of Dulwich Picture Gallery. Dutch, Flemish and German Schools, with addenda to the British School, will be published online as a RKD Studies in 2020 [an enlarged version of Jonker & Bergvelt 2016], DPG127

Beelddocumentatie

Standplaats afbeelding Locatie van de afbeelding in de beelddocumentatie.

BD/Digital Collection (afb.nr. 1001459308)
BD/Digital Collection (afb.nr. 0000280924)
, standplaats origineel BD/RKD/0344 - ONS/Religion, Mythology, Allegory, History and Literature I (afb.nr. 0000144779)

Project: Gerson Digital : Verenigd Koninkrijk

Externe links: this artwork in Dulwich Picture Gallery
entry in Bergvelt/Jonker 2021
permanent link to Bergvelt/Jonker 2021

Permalink: https://rkd.nl/explore/images/105905

Ingevoerd op: 2006-07-21; Laatste wijziging: 2022-09-14

Explore

Anthony van Dyck

Reacties

Mijn selecties