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Overview
The Iconography (Icones principum virorum) is a very large series of portrait prints made after drawings and paintings by the famous Antwerp - and later international - court artist and painter, Anthony van Dyck (1599-1641). Eighteen prints were etched by the artist himself, although the majority are engravings made by a variety of printmakers: van Dyck found painting more profitable than printmaking. This compilation of portraits of princes, politicians, soldiers, statesmen, scholars, art connoisseurs and most importantly artists, a survey of the most distinguished men and women of his time, went through many editions.
At the time of van Dyck's premature death, there were 80 such prints (52 were of artists); in the late 18th century this had grown to over 200. The Iconography proved hugely influential as a commercial model for reproductive printmaking, and influenced portrait painting in turn. It only became superseded in the mid-19th century with the advent of photography.
While the original 18 'icons' are the most prized, especially in their early states, engraving was added by other hands, in many instances commissioned and approved by van Dyck himself and executed by highly skilled practitioners such as Paulus Pontius (as here), Schelte Adamsz. Bolswert and Lucas Vorsterman. Sometimes his work is obscured by them, to the dismay of purist connoisseurs!
In art historical terms, van Dyck's own etchings are greatly admired. He was a brilliant technician, and his 'unfinished but complete' approach, where the heads are fully worked out but the costume and hands unfinished, is remarkably modern. This went on to influence portraitists of later centuries, particularly those who believed in 'bravura' and virtuosity, such as John Singer Sargent and Augustus John. Print expert Arthur Hind wrote: 'Portrait etching had scarcely had an existence before his time, and in his work it suddenly appears at the highest point ever reached in the art'.
Although this impression is from the fifth of six states of the etching and made posthumously, a strong sense of van Dyck's style and intention has been retained, making it immediately recognisable as one of the original 18. It possesses the rapid quality of a pen sketch.
The artist depicted here, Pieter Brueghel the Younger (son and namesake of the great 16th century Flemish painter) looks directly at the viewer. The portrait is not that flattering: it is clear that Brueghel is somewhat cross-eyed. In his right hand he holds a rolled-up piece of paper, while the right arm is supported by the draped cloak, alluding to a Roman toga. The rolled-up paper could indicate a statesman or scholar rather than an artist, which is deliberate on van Dyck's part, elevating fellow artists into the 'iconographic' company of powerful, often noble people such as Margaret, Princess of Lorraine (Te Papa 1869-0001-114) and Emanuel Frockas, Count of Feria (1869-0001-111). A preparatory drawing for the etching is in the Hermitage, St Petersburg. A portrait of Pieter's artist brother, Jan Brueghel the Elder, also part of van Dyck's Iconography series, is in Te Papa's collection (1952-0003-173).
See:
The Frick Collection, https://www.frick.org/exhibitions/van_dyck/39
Wikipedia, 'Anthony van Dyck', https://en.wikipedia.org/wiki/Anthony_van_Dyck
Dr Mark Stocker Curator, Historical International Art September 2018