Van Dyck and Britain

This is the first exhibition catalogue devoted solely to Van Dyck's English work since Oliver Millar's Van Dyck in England (1982). Although this new volume addresses fewer artworks, it provides a far more complete, richer picture of Van Dyck's contribution to British art history by discussing major works by predecessors, who emphasized clothing as a symbol of wealth and were less concerned with the sitter's personality (e.g., Robert Peake, Daniel Mytens). It also shows Van Dyck's and contemporaries' influence on later English portraiture, e.g., works by Gainsborough, Reynolds, and Sargent. The catalogue focuses on Van Dyck's works from 1620 to 1621 and 1632 to 1641. Included are pen and chalk drawings related to numerous works, along with engravings after them. Essays by various experts cover such subjects as costumes and their political/social significance, the crafting of Charles I's image, and Van Dyck's working habits. All this provides a wealth of material and more complete understanding of the artist and his contributions. The signal contribution of this beautifully illustrated study may be its inclusion and discussion of so many major portraits by Van Dyck and its contrasting them to the works of his contemporaries and followers. Useful bibliography and notes. Summing Up: Highly recommended. Upper-level undergraduates through faculty/researchers; general readers. T. J. McCormick emeritus, Wheaton College (MA)

This richly illustrated catalog corresponds with an exhibition at Tate Britain of work by Flemish painter Anthony van Dyck that portrays the royal families and members of the court. Both the exhibition and catalog focus specifically on the two periods van Dyck spent in London: his brief visit in 1620 to the court of King James I and his more lengthy visit to serve Charles I, beginning in 1632 and ending almost ten years later with his death in London in 1641. Hearn (curator, 16th- and 17th-century British art, Tate; Nicholas Hilliard) and other distinguished scholars and art historians including Christopher Brown, Diana Dethloff, Emilie Gordenker, Kevin M. Sharpe, Susan Sloman, and Aileen Ribeiro contribute erudite essays. Complete with 200 full-color illustrations, this catalog is pretty enough to sit on any coffee table; the text, endnotes, bibliography, list of works exhibited, "Loans" and "Lenders and Credits" lists, and index make it fit for serious academic inquiry. A great addition to collections focused on early modern England.-Jennifer H. Pollock, Coll. of DAAP Lib., Univ. of Cincinnati (c) Copyright 2010. Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.

This richly illustrated catalog corresponds with an exhibition at Tate Britain of work by Flemish painter Anthony van Dyck that portrays the royal families and members of the court. Both the exhibition and catalog focus specifically on the two periods van Dyck spent in London: his brief visit in 1620 to the court of King James I and his more lengthy visit to serve Charles I, beginning in 1632 and ending almost ten years later with his death in London in 1641. Hearn (curator, 16th- and 17th-century British art, Tate; Nicholas Hilliard) and other distinguished scholars and art historians including Christopher Brown, Diana Dethloff, Emilie Gordenker, Kevin M. Sharpe, Susan Sloman, and Aileen Ribeiro contribute erudite essays. Complete with 200 full-color illustrations, this catalog is pretty enough to sit on any coffee table; the text, endnotes, bibliography, list of works exhibited, "Loans" and "Lenders and Credits" lists, and index make it fit for serious academic inquiry. A great addition to collections focused on early modern England.—Jennifer H. Pollock, Coll. of DAAP Lib., Univ. of Cincinnati