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Ferdinand
I
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|
|
|
King of the Romans
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Reign
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5
January 1531 - 25 July 1564
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Coronation
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11
January 1531, Aachen
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Predecessor
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Charles V
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|
Successor
|
Maximilian II
|
|
Holy Roman Emperor
|
|
Reign
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1558
- 1564[1]
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Predecessor
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Charles V
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|
Successor
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Maximilian II
|
|
King of Bohemia
|
|
Reign
|
24
October 1526 - 25 July 1564
|
|
Coronation
|
24
February 1527, Prague
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|
Predecessor
|
Louis II
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|
Successor
|
Maximilian II
|
|
King of Hungary
|
|
Reign
|
16
December 1526 - 25 July 1564
|
|
Coronation
|
3
November 1527,Székesfehérvár
|
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Predecessor
|
Louis II
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|
Successor
|
Maximilian II
|
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Spouse
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Anna of Bohemia and
Hungary
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Issue
|
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Maximilian II, Holy
Roman Emperor
Elisabeth, Queen of
Poland
Joanna, Grand Duchess
of Tuscany
Anna, Duchess of
Bavaria
Ferdinand II,
Archduke of Austria
Catherine, Queen of
Poland
Barbara, Duchess of
Ferrara
Charles II, Archduke
of Austria
Eleonora, Duchess of
Mantua
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House
|
House of Habsburg
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Father
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Philip I of Castile
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Mother
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Joanna of Castile
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Born
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10
March 1503
Alcala de Henares, Castile,Spain
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Died
|
25
July 1564
Vienna, Austria
|
|
Burial
|
Prague, St. Vitus Cathedral
|
Ferdinand
I (10 March 1503 – 25 July 1564) was a Central European monarch from the House of Habsburg. He wasHoly Roman Emperor from 1558, king of Bohemia and Hungary from 1526.[1] Also king of Croatia, Dalmatia, Slavonia as well as, formally, Serbia, Galicia and Lodomeria,
etc. He ruled the Austrian hereditary
lands of the Habsburgs most of his public life, at the behest of his elder brother, Charles V, Holy Roman
Emperor and King of Spain. Ferdinand was Archduke of Austria from 1521 to 1564. After the death of his
brother–in–law Louis II, Ferdinand ruled as King of Bohemia,Hungary (1526–1564).[1][2] When Charles retired in 1556, Ferdinand became his
de facto successor as Holy Roman Emperor, and de jure in 1558,[1][3] while Spain, the Spanish Empire, Naples, Sicily, Milan, the Netherlands, and Franche-Comté went to Philip, son of Charles.
Ferdinand's
motto was Fiat justitia et
pereat mundus: "Let justice be done, though the
world perish".
Ferdinand
in 1531, the year of his election as King of the Romans
Ferdinand
was born in Alcala de Henares,
40 km from Madrid,
the son of the InfantaJoanna of Castile,
the future Queen of Castile known as Joanna
the Mad, and Habsburg Archduke Philip the Handsome, Duke of Burgundy and future King of Castile, who was
heir to Emperor Maximilian I.
Ferdinand shared his birthday with his maternal grandfather Ferdinand II of Aragon.
Charles
entrusted Ferdinand with the government of the Austrian hereditary lands,
roughly modern-day Austria and Slovenia.
Ferdinand also served as his brother's deputy in the Holy Roman Empire during
his brother's many absences and in 1531 was elected King of the Romans,
making him Charles's designated heir in the Empire. Charles abdicated in 1556
and Ferdinand succeeded him, assuming the title of Emperor elect in 1558.
After
Sultan Suleiman the Magnificent killed
Ferdinand's brother-in-law Louis II,
King of Bohemia and
of Hungary at
the battle of Mohács on
29 August 1526, Ferdinand was elected King of Bohemia in his place.
The Croatian nobles at Cetin unanimously elected Ferdinand I as
their king on 1 January 1527, and confirmed the succession to him and his
heirs.[4] In return for the throne Archduke
Ferdinand at Parliament on Cetin (Croatian: Cetinski Sabor) promised to respect
the historic rights, freedoms, laws and customs the Croats had when united with
the Hungarian kingdom and to defend Croatia fromOttoman invasion.[5]
In
Hungary, Nicolaus Olahus,
secretary of Louis, attached himself to the party of King Ferdinand, but
retained his position with the queen-dowager Mary of Habsburg.
Ferdinand was elected King of Hungary by a rump diet in Pozsony in December 1526. The throne of Hungary became the subject of a dynastic
dispute between Ferdinand and John Zápolya,voivode of Transylvania.
Each was supported by different factions of the nobility in the Hungarian
kingdom; Ferdinand also had the support of Charles V. After defeat by Ferdinand
at the Battle of Tarcal in September 1527 and again in Battle of Szina in March 1528, Zápolya gained the
support of Suleiman.
Ferdinand was able to win control only of western Hungary because Zápolya clung
to the east and the Ottomans to the conquered south. Zápolya's widow, Isabella
Jagiełło, cededRoyal Hungary and Transylvania to Ferdinand in the Treaty of Weissenburg of 1551. In 1554 Ogier Ghiselin de
Busbecqwas sent to Istanbul by Ferdinand to discuss a border
treaty over disputed land with Suleiman.
The
most dangerous moment of Ferdinand's career came in 1529 when he took refuge in
Bohemia from a massive but ultimately unsuccessful assault on his capital by
Suleiman and the Ottoman armies at the Siege of Vienna.
A further Ottoman attack on Vienna was repelled in 1533. In that year
Ferdinand signed a peace treaty with the Ottoman Empire,
splitting the Kingdom of Hungary into a Habsburg sector in the west and John
Zápolya's domain in the east, the latter effectively a vassal state of the
Ottoman Empire.
In
1538, by the Treaty of Nagyvárad,
Ferdinand became Zápolya's successor. He was unable to enforce this agreement
during his lifetime because John II Sigismund
Zápolya, infant son of John Zápolya and Isabella
Jagiełło, was elected King of Hungary in 1540. Zápolya was initially
supported by King Sigismund of Poland,
his mother's father, but in 1543 a treaty was signed between the Habsburgs and
the Polish ruler as a result of which Poland became neutral in the conflict. PrinceSigismund Augustus married Elisabeth of Austria, Ferdinand's
daughter.
After
decades of religious and political unrest in the German states, Charles V
ordered a general Diet in Augsburg at which the various states would
discuss the religious problem and its solution. Charles himself did not attend,
and delegated authority to his brother, Ferdinand, to "act and
settle" disputes of territory, religion and local power.[6] At the conference, Ferdinand cajoled,
persuaded and threatened the various representatives into agreement on three
important principles. The principle of cuius regio, eius
religio provided
for internal religious unity within a state: The religion of the prince became
the religion of the state and all its inhabitants. Those inhabitants who could
not conform to the prince's religion were allowed to leave, an innovative idea
in the sixteenth century; this principle was discussed at length by the various
delegates, who finally reached agreement on the specifics of its wording after
examining the problem and the proposed solution from every possible angle. The
second principle covered the special status of the ecclesiastical states,
called the ecclesiastical
reservation, or reservatum
ecclesiasticum. If the prelate of an ecclesiastic state changed his
religion, the men and women living in that state did not have to do so.
Instead, the prelate was expected to resign from his post, although this was
not spelled out in the agreement. The third principle, known as Ferdinand's
Declaration, exempted knights and some of the
cities from the requirement of religious uniformity, if the reformed religion
had been practiced there since the mid-1520s, allowing for a few mixed cities
and towns where Catholics and Lutherans had lived together. It also protected
the authority of the princely families, the knights and some of the cities to
determine what religious uniformity meant in their territories. Ferdinand
inserted this at the last minute, on his own authority.[7]
After
1555, the Peace of Augsburg became the legitimating legal document governing
the co-existence of the Lutheran and Catholic faiths in the German lands of the
Holy Roman Empire, and it served to ameliorate many of the tensions between
followers of the so-called Old Faith and the followers of Luther, but it had
two fundamental flaws. First, Ferdinand had rushed the article on ecclesiastical
reservation through
the debate; it had not undergone the scrutiny and discussion that attended the
wide-spread acceptance and support of cuius regio, eius religio.
Consequently, its wording did not cover all, or even most, potential legal
scenarios. The Declaratio
Ferdinandei was
not debated in plenary session at all; using his authority to "act and
settle,"[8] Ferdinand
had added it at the last minute, responding to lobbying by princely families
and knights.[9]
While
these specific failings came back to haunt the Empire in subsequent decades,
perhaps the greatest weakness of the Peace of Augsburg was its failure to take
into account the growing diversity of religious expression emerging in the
so-called evangelical and reformed traditions. Other confessions had acquired
popular, if not legal, legitimacy in the intervening decades and by 1555, the
reforms proposed by Luther were no longer the only possibilities of religious
expression: Anabaptists,
such as the Frisian Menno Simons (1492–1559) and his followers; the
followers of John Calvin,
who were particularly strong in the southwest and the northwest; and the
followers of Huldrych Zwingli were excluded from considerations and
protections under the Peace of Augsburg. According to the Augsburg agreement,
their religious beliefs remained heretical.[10]
In
1556, amid great pomp, and leaning on the shoulder of one of his favorites (the
24-year-old William, Count of
Nassau and Orange),[11] Charles
gave away his lands and his offices. The Spanish empire,
which included Spain,
theNetherlands, Naples, Milan and
Spain's possessions in the Americas,
went to his son, Philip.
His brother, Ferdinand, who had negotiated the treaty in the previous year, was
already in possession of the Austrian lands and was also to succeed Charles as
Holy Roman Emperor.[12] This
course of events had been guaranteed already on January 5, 1531 when Ferdinand
had been elected the King of Romans and so the legitimate successor of the
reigning Emperor.
Charles'
choices were appropriate. Philip was culturally Spanish: he was born in Valladolid and raised in the Spanish court, his
native tongue was Spanish, and he preferred to live in Spain. Ferdinand was
familiar with, and to, the other princes of the Holy Roman Empire. Although he
too had been born in Spain, he had administered his brother's affairs in the
Empire since 1531.[13] Some historians maintain Ferdinand had
also been touched by the reformed philosophies, and was probably the closest
the Holy Roman Empire ever came to a Protestant emperor; he remained nominally
a Catholic throughout his life, although reportedly he refused last rites on
his deathbed.[14] Other historians maintain he was as
Catholic as his brother, but tended to see religion as outside the political
sphere.[15]
Charles'
abdication had far-reaching consequences in imperial diplomatic relations with
France and the Netherlands, particularly in his allotment of the Spanish
kingdom to Philip. In France, the kings and their ministers grew increasingly
uneasy about Habsburg encirclement and sought allies against Habsburg hegemony
from among the border German territories, and even from some of the Protestant
kings. In the Netherlands, Philip's ascension in Spain raised particular
problems; for the sake of harmony, order, and prosperity Charles had not
blocked the Reformation, and had tolerated a high level of local autonomy. An
ardent Catholic and rigidly autocratic prince, Philip pursued an aggressive
political, economic and religious policy toward the Dutch, resulting in a Dutch rebellion shortly after he became king. Philip's
militant response meant the occupation of much of the upper provinces by troops
of, or hired by, Habsburg Spain and the constant ebb and flow of
Spanish men and provisions on the so-called Spanish road from northern Italy, through the Burgundian lands, to and from Flanders.[16]
The
abdication did not automatically make Ferdinand the Holy Roman Emperor. Charles
abdicated as Emperor in January, 1556 in favor of his brother Ferdinand;
however, due to lengthy debate and bureaucratic procedure, the Imperial Diet did not accept the abdication (and
thus make it legally valid) until May 3, 1558. Up to that date, Charles
continued to use the title of Emperor.
Posthumous
engraving of Ferdinand by Martin Rota,
1575
The
western rump of Hungary over which Ferdinand retained dominion became known as Royal Hungary.
As the ruler of Austria, Bohemia and Royal Hungary, Ferdinand adopted a policy
of centralization and, in common with other monarchs of the time, the
construction of an absolute monarchy.
In 1527, soon after ascending the throne, he published a constitution for his
hereditary domains (Hofstaatsordnung) and established Austrian-style
institutions in Pressburg for Hungary, in Prague for Bohemia, and in Breslau for Silesia.
Opposition from the nobles in those realms forced him to concede the
independence of these institutions from supervision by the Austrian government
in Vienna in 1559.
After
Ottoman invasion of Hungary the traditional Hungarian coronation city, Székesfehérvár fell under Turkish occupation. Thus,
in 1536 Hungarian Diet decided than a new place for coronation of the king as
well as a meeting place for the Diet itself would be set in Pressburg.
Ferdinand proposed that Hungarian and Bohemian diets should convene and hold
debates together with Austrian estates, but both ther former refused such a
innovation.
In
1547 the Bohemian Estates rebelled against Ferdinand after he
had ordered the Bohemian army to move against the German Protestants.
After suppressing Prague with the help of his brother Charles V's Spanish forces, he retaliated by limiting the
privileges of Bohemian cities and inserting a new bureaucracy of royal
officials to control urban authorities. Ferdinand was a supporter of the Counter-Reformation and helped lead the Catholic response against what he saw as the
heretical tide of Protestantism. For example, in 1551 he invited the Jesuits to Vienna and in 1556 to Prague.
Finally, in 1561 Ferdinand revived theArchdiocese of Prague,
which had been previously liquidated due to the success of the Protestants.
Ferdinand
died in Vienna and is buried in St. Vitus Cathedral in Prague.
German, Czech, Slovak, Croatian: Ferdinand I.; Hungarian: I. Ferdinánd; Spanish: Fernando I.
On
25 May 1521 in Linz,
Austria, Ferdinand married Anna of Bohemia and
Hungary (1503–1547), daughter of Vladislaus II of
Bohemia and Hungary and his wife Anne de Foix.
They had fifteen children, all but two of whom reached adulthood:
The Renaissance coin
Ferdinand
I has been the main motif for many collector coins and medals, the most recent
one is the famous silver 20 euroRenaissance coin issued
in 12 June 2002. A portrait of Ferdinand I is shown in the reverse of the coin,
while in the obverse a view of the Swiss Gate of the Hofburg Palace can be
seen.
After
ascending the Imperial Throne Ferdinand's full titulature went as follows: Ferdinand,
by the grace of God elected Holy Roman Emperor, forever August, King in
Germany, of Hungary, Bohemia, Dalmatia, Croatia, Slavonia, Rama, Serbia,
Galicia, Lodomeria, Cumania and Bulgaria, etc. Prince-Infante in Spain,
Archduke of Austria, Duke of Burgundy, Brabant, Styria, Carinthia, Carniola,
Margrave of Moravia, Duke of Luxemburg, the Upper and Lower Silesia,
Württemberg and Teck, Prince of Swabia, Princely Count of Habsburg, Tyrol,
Ferrette, Kyburg, Gorizia, Landgrave of Alsace, Margrave of the Holy Roman
Empire, Enns, Burgau, the Upper and Lower Lusatia, Lord of the Wendish March,
Pordenone and Salins, etc. etc.[17]
Not
always he used all these elements, often omitting few last royal titles (Rama,
Serbia and so forth).
§
Kings of Germany
family tree.
He was related to every other king of Germany.
§
A pedigree of the Habsburg
1.
^ a b c d Britannica 2009
2.
^ http://www.bartleby.com/65/fe/Ferdi1HRE.html
3. ^ "Rapport établi par M. Alet VALERO" (PDF). CENTRE NATIONAL DE DOCUMENTATION
PÉDAGOGIQUE. 2006. Retrieved 2008-05-02.
4.
^ R. W. SETON
-WATSON:The southern Slav question and the Habsburg Monarchy page 18
5.
^ Milan Kruhek: Cetin, grad izbornog sabora Kraljevine
Hrvatske 1527, Karlovačka Županija, 1997, Karlovac
6.
^ Holborn,
p. 241.
7.
^ For a general discussion of the impact of the
Reformation on the Holy Roman Empire, see Holborn, chapters 6–9 (pp. 123–248).
8.
^ Holborn,
p. 241.
9.
^ Holborn,
pp. 244–245.
10. ^ Holborn,
pp. 243–246.
11.
^ Lisa Jardine, The
Awful End of William the Silent: The First Assassination of a Head of State
with A Handgun, London, HarperCollins, 2005, ISBN 0007192576, Chapter 1;
Richard Bruce Wernham, The New
Cambridge Modern History: The Counter Reformation and Price Revolution
1559–1610, (vol. 3), 1979, pp. 338–345.
12. ^ Holborn,
pp. 249–250; Wernham, pp. 338–345.
13. ^ Holborn,
pp. 243–246.
14. ^ See
Parker, pp. 20–50.
15. ^ Holborn,
pp. 250–251.
16. ^ Parker,
p. 35.
17. ^ http://eurulers.angelfire.com/hungary.html
18.
^ Ferdinand used the title of a King of Italy though he
was never crowned as such.
19.
^ Charles had abdicated in 1556, but Ferdinand formally
assumed the title of Emperor elect only in 1558, upon the acceptance of
Charles' abdication.
BioPhotosVos avis
Anthony
Van Dyck (nom anglicisé d’Antoon van Dijk) est le plus célèbre des
collaborateurs et disciples de Pierre-Paul
Rubens. Né à Anvers, il est de 1610 à 1614, alors qu’il est presque
encore enfant, l’assistant en chef du plus grand maître flamand de l’époque,
Rubens, dont l’influence sur le jeune artiste est immense. Van Dyck devient
peintre indépendant dès 1615, à l’âge de seize ans, et en 1618, est membre de
la Guilde de Saint-Luc.
Pourtant, dès 1620, Van Dyck se rend en Angleterre, à l’appel du roi James Ier.
Là, la découverte dans une collection particulière de l’œuvre du Titien agit sur lui comme une révélation. Il
retourne ensuite dans les Flandres, puis voyage en Italie. Il y reste six ans,
principalement à Gênes, de 1621 à 1627, étudie les maîtres italiens de la
Renaissance et y débute une carrière remarquable de portraitiste.
Après un retour à Anvers de plusieurs années, où il obtient de nombreuses
commandes, Van Dyck part pour Londres en 1632, où il est anobli et devient le premier
peintre de la cour. Il réalise de nombreux portraits du roi Charles Ier et de
sa famille, mais aussi de la cour et de sa propre famille. Il met alors au
point un style de portrait alliant, sur fond de paysage, une élégance détendue
et une autorité perceptible, qui fera école en Angleterre jusqu’à la fin du
XVIIIe siècle. La touche fluide est typiquement rubénienne, mais les couleurs
métalliques, l’argenté et le doré, et la transparence des tons lui sont
propres, et vont exercer sur la peinture anglaise, jusqu’à Gainsbourough et
Turner, une influence considérable.
De passage à Paris en 1641, il tombe gravement malade et meurt quelques mois
plus tard à Londres, à l’âge de quarante-deux ans.
Quelques œuvres majeures :
- La
marquise Elena Grimaldi (1623, Washington, National Gallery)
- Autoportrait
au tournesol (1632, collection particulière)
- Charles
Ier (1633, Londres, Buckingham Palace)
- Déposition
de croix (1634, Munich, Alte Pinakothek)
- Charles
Ier, roi d’Angleterre, à la chasse (1635, Paris, musée du Louvre)
- Lord
John et lord Bernard Stuart (1638, Londres, National Gallery, ill.)
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"Grimaldi"
redirects here. For other uses, see Grimaldi (disambiguation).
The House of Grimaldi is associated with the history of the Republic of Genoa and of the Principality ofMonaco.
The
Grimaldi family descends from Grimaldo, a Genovese statesman
at the time of the early Crusades. He was the son of Otto Canella, a Consul of
Genoa in 1133, and in turn Grimaldo became a Consul in 1160, 1170 and again in
1184. His numerous grandsons and their children led maritime expeditions
throughout theMediterranean, the Black Sea, and soon the North Sea, and quickly became one of the
most powerful families of Genoa.
The
Grimaldis feared that the head of a rival Genoese family could break the
fragile balance of power in a political coup and become lord of Genoa, as had
happened in other Italian cities. They entered into a Guelphic alliance
with the Fieschi family
and defended their interests with the sword. The Guelfs however were banned
from the City in 1271, and found refuge in their castles of Liguria and
in Provence. They signed a treaty with Charles of Anjou, King of Naples and Count of Provence, to retake control of
Genoa, and generally to provide mutual assistance. In 1276, they accepted a
peace under the auspices of the Pope, which however did not put an end to the
civil war. Not all the Grimaldis chose to return to Genoa, as they preferred to
settle in their fiefdoms, where they could raise armies.
In 1299, the
Grimaldis and their allies launched a few galleys to attack the port of Genoa
before taking refuge on the Western Riviera. During the following years, the
Grimaldis were going to enter into different alliances
that would allow them to come back in force. This time, it was the turn of
their rivals, the Spinola family,
to be banned from the City. During all that period, both Guelfs and Ghibellines took and abandoned the castle of
Monaco, which was ideally located to launch political and military operations
against Genoa. Therefore, the story of Francis Grimaldi and his faction—who conquered the
castle of Monaco under the disguise of friars in 1297—is largely anecdotal.
In the early 14th century, the Catalans from
Spain raided the shores of Provence and Liguria, challenging Genoa and King Robert of Provence. In 1353, the combined
fleet of eighty Venetian and Catalonian galleys gathered
in Sardinia to
meet the fleet of sixty galleys under the command of Anthony Grimaldi. Only
nineteen Genoese vessels survived the battle. Fearing an invasion, Genoa rushed
to request the protection of the lord of Milan.
Several of the
oldest feudal branches of the House of Grimaldi appeared during those unrests,
such as the branches of Antibes, Beuil, Nice, Puget, and Sicily. In 1395, the Grimaldis took
advantage of the discords in Genoa to take possession of Monaco, which they
then ruled as a condominium. It is the origin of today's
principality.
As it was customary in Genoa, the Grimaldis organized
their family ties within a corporation called Albergo. In the political reform of 1528,
this ancient family became one of the 28 alberghi of the Republic of Genoa, to
which other families were formally invited to join. Other Alberghi included the Doria and Pallavicinifamilies. The House of Grimaldi
provided many illustrious personalities such as doges, cardinals, cabinet ministers, and
countless officers. Through an intermarriage with the Serra Family they became
related to the Dukes of Cassano and Gerace.
Until 2002, a treaty between
Monaco and France stated
that if the Grimaldi family ever failed to produce a male heir then the sovereignty over the territory would revert to
France. The 2002 agreement modified this to make provisions for a regency and
continued Monegasque sovereignty if such an event were to occur.
The coat of arms of the House of Grimaldi are simply
described as fusily argent and gules, i.e., a pattern of red diamonds on a
white background.
Elena Grimaldi, as painted by Anthony Van Dyck, c. 1623
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The Columbia
Encyclopedia, Sixth Edition | 2008 | Copyright
Sir Anthony Van Dyck , 1599-1641, Flemish portrait and religious painter and
etcher, b. Antwerp. In 1618 he was received as a master in the artists' guild,
but even before this he produced independent paintings in his studio. For a few
years he was the skilled assistant and close collaborator of Rubens . In 1620 he was summoned to England
by James I, whose portrait (now lost) he painted. The next year he went to
Italy, where he studied the works of the great Venetians and painted a series
of portraits of the Genoese nobility. These pictures, many of them still in the
palaces of the Doria, Balbi, Durazzo, and Grimaldi families, show Van Dyck's
extraordinary gift for aristocratic portraiture. Van Dyck conferred upon his
sitters elegance, dignity, and refinement, qualities pleasing to royalty and
aristocracy. An outstanding example is the portrait of Marchesa Elena Grimaldi
(National
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Home > Library > History, Politics & Society > World Chronology
1621 1622 1623 1624 1625 1626 1627 1628 1629 1630
political events
England's prince
of Wales travels in secret to Spain with George Villiers, 1st marquess of
Buckingham, who has persuaded him to seek the hand of the infanta Maria, sister
of Felipe IV. "Mr. Smith" and "Mr. Brown" arrive at Madrid
March 7 but find the infanta and Spanish courtunenthusiastic, put off by Buckingham's arrogant manner, anddistrustful of young Charles's promise to change
English penal laws against Catholics (see Great Protestation, 1621). The diminutive (four foot-seven
inch) Charles, now 22, makes the 30-year-old Villiers a duke May 18 (the first
duke created since the execution of Norfolk in 1572), returns October 5, and
will be betrothed instead to the sister of France's
Louis XIII.
The Holy Roman Emperor Ferdinand II gives the Upper Palatinate to
Maximilian, duke of Bavaria, as the Thirty Years' War continues. Maximilian
makes the duchy an electorate of the Holy Roman Empire, and the Upper Palatinate
will be incorporated into the electorate in 1628. Papal troops occupy the
Valtelline and graf von Tilly advances toWestphalia after defeating Christian of Brunswick
at Stadtlohn.
The Ottoman sultan
Mustapha I abdicates under pressure in favor of his 14-year-old nephew and is
confined in the Seraglio (see 1622). The nephew will reign until 1640
as Murad IV, with his mother, Kösem
Sultana, serving as regent until his majority.
Persia's Abbas I
takes Baghdad, Mosul, and all of Mesopotamia from the Ottoman Turks. Baghdad
will remain in Persian hands for 15 years.
Japan's
shōgun Hidetada Tokugawa abdicates at age 45, having consolidated his
family's rule, eliminated Christianity, and begun the process of closing the
country to outsiders. He is succeeded by his son 19-year-old son Iemitsu, who
will raise the shōgunate to its greatest glory in the next 28 years,
eliminating the emperor's few remaining prerogatives while continuing his
father's campaign against Christians.
Ndongo princess
Nzinga succeeds to the throne after poisoning her brother. Her small monarchy is
dwarfed by the neighboring Portuguese colony of Angola, but she is determined
to resist the depredations of slave traders. She travels to Angola, where she
negotiates with the governor and allows herself to be baptized into
Christianity as Dona Aña de Souza (but see 1624).
Dutch forces seize
the Brazilian port of Pernambuco that will later be called Recife.
exploration, colonization
Another large
group of English colonists arrives at Plymouth.
The port of Gloucester
is founded in the Massachusetts Bay colony.
The Dutch make
Nieuw Nederland a formally organized province and organize a group of families
to settle there (see 1614). The Dutch West India Company
chartered 2 years ago draws up Provisional Regulations for Colonists under
whose terms they are to be provided with clothing and supplies from the
company's storehouses, these to be paid for at modest prices in installments,
but the colonists may not produce any handicrafts and may engage in trade only
if they sell their wares to the company. They must promise to stay for at least
6 years and to settle wherever the company locates them (see 1624).
Sir Thomas Warner
arrives in the Caribbean and establishes the first successful English colony in
the West Indies on the west coast of Saint Christopher, whose name will be
shortened by the colonists to Saint Kitts (see 1632; Columbus, 1493; Bélain, 1627).
commerce
Dutch
governor-general Jan Pieterzsoon Coen leaves for the Netherlands in February,
and Dutch East India Company agents at Amboina proceed promptly to end English East
India Company efforts to trade with the Spice Islands, Japan, or Siam. Believing that the English
merchants plan to kill him with help from Japanese mercenaries and overwhelm
the Dutch garrison as soon as an English ship arrives to support them, Governor
Herman van Speult has ordered the arrest of the alleged conspirators early in
the year. They admit guilt under torture, 10 rival English traders are executed
in February along with 10 Japanese and a Portuguese, and what the English will
call the Amboina Massacre brings to a halt all attempts at Anglo-Dutch
cooperation in the region. Coen is forbidden to return to the Indies pending an
investigation (see 1627), but hereafter it will be the Dutch who control the
East Indies.
English traders in
Japan abandon their commercial station at Hirado (see 1613).
Pilgrim Fathers in
the Plymouth colony assign each family its own parcel of land, forsaking the communal Mayflower Compact of 1620 (see Virginia, 1611). Given new incentive, women and children join with
men to plant corn and increase production.
technology
A new English
patent law protects and encourages inventors.
German
mathematician and astronomer Wilhelm Schickard, 31, writes to his friend
Johannes Kepler September 23 describing his progress in inventing a Rechenmaschiene (computer) (seescience [Oughtred's
slide rule], 1622). A professor at the University of
Tübingen in Württemberg, Schickard has built a mechanical device that employs
six dented wheels geared through a "mutilated" wheel to add and subtract up to six-digit numbers; with every
full turn of this wheel another wheel located to its right rotates 1/10 of a
full turn, an overflow mechanism rings a bell, and a set of
Napier's cylinders in the machine's upper half helps to perform
multiplications, enabling the Rechenmaschiene to multiply as well as add, subtract, and divide.
Schickard and his family will die in an epidemic of bubonic plague in 1635, his detailed notes will not
be discovered until 1935, and their significance will not be recognized for
another 20 years (see Pascal, 1642).
science
Pinax Theatri
Botanici by
Swiss physician, anatomist, and botanist Gaspard Bauhin,
63, introduces a scientific binomial system of classifaction. A compilation
that pulls together uncoordinated plant names and descriptions of some
6,000 species mentioned by Theophrastus and Dioscorides, plus later herbals and
plant records, it represents the first effort to summarize the confusing names (see Linnaeus, 1737).
medicine
Italian anatomist
Gasparo Aselli, 42, performs a vivisection operation on a dog that has just eaten
a substantial meal and discovers "chyle" (lacteal) vessels. Aselli
finds that the dog'speritoneum and intestine are covered with a mass of white
threads (see Pecquet, 1643).
Smallpox is
reported for the first time in Russia, where epidemics of the disease will be
as devastating as they are elsewhere.
religion
Pope Gregory XV
dies at Rome July 8 at age 69 after a 2-year reign in which he has introduced
the secret ballot for papal elections and established the Church's first
permanent board of control of its foreign missionaries (the Congregation for
the Propagation of the Faith). He is succeeded August 6 by Mateo Cardinal
Barberini, 55, who 3 years ago wrote a poem in honor of Galileo Galilei and will reign until 1644 as Urban
VIII.
literature
Nonfiction: Assayer by
Galileo Galilei is a polemic on the philosophy of science. The
astronomer and mathematician dedicates it to the new pope Urban VIII.
Scholar Paolo
Sarpi dies at his native Venice January 14 at age 70.
art
Painting: Portrait
of Cardinal Bentivoglio, Portrait
of François Duquesnoy, and Marchesa
Elena Grimaldi, Wife of Marchese Nicola Cattaneo by Anthony Van Dyck; Baptism of Christ by Guido Reni. Diego Velázquez gains
appointment as court painter at Madrid, where he will be famous for his naturalistic
portraits of Felipe IV, the Infanta Maria, Marianna of Austria, Olivarez, court
jesters, dwarfs, idiots, and beggars in addition to his religious paintings.
Sculpture: David by
Gian Lorenzo Bernini.
theater, film
Theater: Love,
Honor and Power (Amor,
Honor y Poder) by Spanish playwright Pedro Calderón de la Barca, 23; The Duke of Milan by Philip Massinger.
Mr. William Shakespeares Comedies, Histories and Tragedies According to
the True Originall Copies(First
Folio) is published at London by the bard's friends John Heminge, 67, and
Henry Condell with 14 comedies, 10 histories, 11 tragedies, and a dedicatory
poem by Ben Jonson "To the memory of my beloved, The Author Mr. William
Shakespeare and what he hath left
us." Heminge (or Heming, or Hemmings) prospered as a member of the King's
Men theatrical company and served as its business manager for more than 25
years.
music
Composer William
Byrd dies at Stondon Massey, Essex, July 4 at age 80. A Roman Catholic, he has
composed music for both the Catholic and Anglican liturgy and has been at
Stondon Massey since 1593.
architecture, real estate
The Paris Church
of St. Marie de la Visitation is completed by architect François Mansart, 25.
agriculture
Brazil has 350
sugar plantations, up from five in 1550.
food availability
The Plymouth
Plantation receives 60 new settlers, who are given lobster and a little fish along with spring
water for lack of anything better to eat and drink (see 1622). The colony has six goats, 50
pigs, and many hens (see 1624).
population
A Spanish edict
offers rewards and special privileges to encourage large families, but the
offer has little effect on birthrates.
1621 1622 1623 1624 1625 1626 1627 1628 1629 1630
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Home > Library > Science > Science & Technology
Biology
Pinax theatri
botanici by
anatomist Gaspard Bauhin, [b. Basel, Switzerland, January 17, 1560, d. Basel,
December 5, 1624] introduces the practice of using binomial names, one for the genus and a second
for the species. See also 1735 Biology.
Communication
The Statute of
Monopolies, which lays down the laws for granting patents (that is, monopolies
limited to a period of time) for inventions, is passed in England. Previously,
the king had granted monopolies; subsequent efforts through the reign of
Charles I to reassert the king's powers in this matter are
finally and definitely overcome by the Long Parliament in 1640. See also 1474 Communication; 1790 Communication; 1790 Communication.
Computers
In Tübingen
(Germany) astronomer Wilhelm Schickard (Schickardt) [b. Herrenberg (Germany),
April 22, 1592, d. Tübingen, October 23, 1635] builds a mechanical calculator
based on the ideas of Napier's bones. The machine can add, subtract, multiply, and divide and is
intended to aid astronomical calculations. A copy is planned for Kepler, but not completed as a result
of the Thirty Years' War, which also results in the loss of Schickard's
calculator. Discovery of a description in 1957 of the Kepler model leads to
construction of a working copy. See also 1617 Computers; 1957 Computers.
Wiki: Anthony van Dyck (2/2)
This triple portrait of King Charles I was sent to Rome for Bernini to model a bust on
His great success
compelled van Dyck to maintain a large workshop in London, a
studio which was to become "virtually a production line for
portraits". According to a visitor to his studio he usually only made a
drawing on paper, which was then enlarged onto canvas by an assistant; he then
painted the head himself. The clothes were left at the studio and often sent
out to specialists. [21]In
his last years these studio collaborations accounted for some decline in the
quality of work. [27] In
addition many copies untouched by him, or virtually so, were produced by the
workshop, as well as by professional copyists and later painters; the number of
paintings ascribed to him had by the 19th century become huge, as with Rembrandt, Titian and others. However most of his assistants
and copyists could not approach the refinement of his manner, so compared to
many masters consensus among art historians on attributions to him is usually
relatively easy to reach, and museum labelling is now mostly updated (country house attributions may be more dubious in
some cases). The relatively few names of his assistants that are known are
Dutch or Flemish; he probably preferred to use trained Flemings, as no English
equivalent training yet existed.[6] Adriaen Hanneman (1604-71) returned to his native Hague in
1638 to become the leading portraitist there. [28] Van
Dyck's enormous influence of English art does not come from a tradition handed
down through his pupils; in fact it is not possible to document a connection to
his studio for any English painter of any significance. [6]
Most major museum
collections include at least one Van Dyck, but easily the most outstanding
collection is the Royal Collection, which still contains many of his paintings
of the Royal Family. The National Gallery, London (fourteen works), The Museo del Prado (Spain) (twenty five works), The Louvre in Paris(eighteen works), The Alte Pinakothek in Munich, The National Gallery of Artin Washington DC and the Frick Collection have splendid examples of all phases
of his portrait style.
Tate Britain held the exhibition Van Dyck & Britain in 2009. [29]
'
v:shapes="_x0000_i1437">"Self Portrait", ca. 1621 Alte Pinakothek
'
v:shapes="_x0000_i1438"> Elena Grimaldi, Genoa 1623
Marie-Louise de Tassis,
Antwerp 1630
Queen Henrietta Maria, London 1632
v:shapes="_x0000_i1441">Charles
I with M. de St Antoine (1633)
James
Stuart, Duke of Richmond, ca. 1637
Amor
and Psyche, 1638
George Digby, 2nd Earl of Bristol, ca.
1638-9
1.
So Ellis Waterhouse (as refs below). But Levey (refs
below) suggests that either van Dyck is the sun to which the sun-flower (of
popular acclaim?) turns its face, or that it is the face of the King, on the
medal he holds, as presented by van Dyck to the world
2.
Originally "van Dijck", with the "IJ" digraph, in Dutch. Anthony
is the English for the Dutch Anthonis or Antoon, though Anthonie, Antonio or
Anthonio was also used; in French he is often Antoine, in Italian Anthonio or
Antonio. In English a capitalised "Van" in Van Dyck was more usual
until recent decades (used by Waterhouse for example), and Dyke was often used
during his lifetime and later
3.
Brown, Christopher: Van
Dyck 1599-1641, page 15. Royal Academy Publications, 1999. ISBN 0 900946 66 0
4.
Gregory Martin, The Flemish School, 1600-1900,
National Gallery Catalogues, p.26, 1970, National Gallery, London, ISBN 0901791024
5.
Brown, page 17.
6.
^ Ellis
Waterhouse, "Painting in Britain, 1530-1790", 4th Edn, 1978,pp 70-77, Penguin Books (now Yale History of Art series)
7.
^ Martin, op and
page cit.
8.
Brown, page 19.
9.
Michael Levey, Painting at Court, Weidenfeld
and Nicholson, London, 1971, pp 124-5
10. DNB accessed
may 14 2007
11. DNB ret
3 May 2007 (causeway, and Eltham)
12. Gaunt, William, English Court Painting
13. Levey p 128
14. DNB ret.
3 May 2007
15. ^ (Polish) "Portret królewicza". Treasures....http://swiadectwotestimony.republika.pl/dyck_vasas.html.
Retrieved 2008-08-29.
16. (Polish) "Jan II Kazimierz Waza". www.stat.gov.pl.
www.poczet.com.http://www.poczet.com/janii.htm.
Retrieved 2008-08-29.
17. now in the Accademia Nazionale di San Luca
18. Grove Art Online,
accessed 13 May 2007, DNB 14
May 2007
19. Brown, page 33. In
1666 the Great Fire of London destroyed Old St. Paul's Cathedral,
and with it van Dyck's tomb.
20. Levey, op cit p.136
21. ^ DNB accessed
14 May 2007
22. Martin Royalton-Kisch, The Light of Nature, Landscape
Drawings and Watercolours by Van Dyck and his contemporaries, British
Museum Press, 1999, ISBN0714126217
23. ^ A History of
Engraving and Etching, Arthur M. Hind,p. 165, Houghton
Mifflin Co. 1923 (in USA), reprinted Dover Publications, 1963 ISBN 0486209547
24. DP Becker in KL
Spangeberg (ed), Six Centuries of Master Prints, Cincinnati Art Museum, 1993,
no 72,ISBN 0931537150
25. DP Becker in KL
Spangeberg (ed), Six Centuries of Master Prints, Cincinnati Art Museum, 1993,
no 72,ISBN 0931537150
26. A Hyatt Mayor,
Prints and People, Metropolitan Museum of Art/Princeton, 1971, no.433-35, ISBN 0691003262
27. Brown, page 84-6.
28. Rudi Ekkart and
Quentin Buvelot (eds), Dutch
Portraits, The Age of Rembrandt and Frans Hals, Mauritshuis/National
Gallery/Waanders Publishers, Zwolle, p.138 QB, 2007,ISBN 9781857093629
29. Karen Hearn (ed.), Van Dyck & Britain, Tate Publishing, 2009. ISBN 978-1-85437-795-1.
Carlos I
Rei da Inglaterra, da Irlanda e da Escócia
Carlos I retratado
por Anthony van Dyck em 1636
Reinado
24 de março de 1625 –30 de janeiro de 1649
Coroação
2 de fevereiro de 1626
Títulos
Duque de Albany e Duque de York, Príncipe de Gales
Nascimento
19 de novembro de 1600
Dunfermline, Escócia
Morte
30 de janeiro de 1649
Whitehall, Londres
Antecessor
Jaime I
Sucessor
Carlos II (de jure)
Oliver Cromwell, de facto
Consorte
Henriqueta Maria da França
Filhos
Carlos II
Jaime II
Maria Stuart
Elizabeth Stuart
Henrique Stuart, Duque de Gloucester
Henriqueta Ana Stuart
Dinastia
Stuart
Pai
James I
Mãe
Ana de Dinamarca
Carlos I de Inglaterra (em inglês: Charles I; 19 de Novembro de 1600 – 30 de Janeiro de 1649) foi rei da Inglaterra, da Escócia e da Irlandadesde 27 de Março de 1625, até à
sua morte. A sua luta pelo poder travada contra o Parlamento da Inglaterra tornou-se famosa. Como ele era um
defensor do direito divino dos reis, seus inimigos, no parlamento dissolvido
por ele em 1628 e mais tarde nos que foi forçado a reunir em 1640, temeram que
ele procurasse obter o o poder absoluto. Houve uma oposição generalizada a
muitas de suas acções, especialmente a imposição de impostos sem o
consentimento do parlamento.
Primeiros anos | Início do reinado | "Reinado Pessoal": "Onze Anos de
Tirania" | Política religiosa | O "Parlamento Curto" e o "Parlamento
Longo" | Guerra civil | Execução de Carlos I | Na cultura popular | Bibliografia
Anthony van Dyck (many
variant spellings;[2] 22 March 1599 – 9 December 1641) was
a Flemish Baroque artist who became the leading court painter in England. He is most famous for his
portraits of King Charles I of England and Scotland and his family and court, painted with
a relaxed elegance that was to be thedominant influence on English portrait-painting for the next 150 years. He also
painted biblical and mythological subjects, displayed outstanding
facility as a draftsman, and was an important innovator in watercolour and etching.
Self-portrait,
1613-14.
Van Dyck was born to prosperous parents in Antwerp. His talent was evident very
early, and he was studying painting withHendrick van Balen by 1609, and became an independent
painter around 1615, setting up a workshop with his even younger friendJan Brueghel the Younger.[3] By the age of fifteen he was already a
highly accomplished artist, as his Self-portrait,
1613-14, shows.[citation needed] He was admitted to the Antwerp
painters'Guild of Saint Luke as a free master by February 1618.[4] Within a few years he was to be the
chief assistant to the dominant master of Antwerp, and
the whole of Northern Europe, Peter Paul Rubens, who made much use of
sub-contracted artists as well as his own large workshop. His influence on the
young artist was immense; Rubens referred to the nineteen-year-old van Dyck as
'the best of my pupils'.[5] The origins and exact nature of their
relationship are unclear; it has been speculated that Van Dyck was a pupil of
Rubens from about 1613, as even his early work shows little trace of van
Balen's style, but there is no clear evidence for this.[6] At the same time the dominance of
Rubens in the small and declining city of Antwerp probably explains why,
despite his periodic returns to the city, van Dyck spent most of his career
abroad..[6] In 1620, in the Rubens' contract for
the major commission for the ceiling of the Jesuit church at Antwerp (now destroyed), van
Dyck is specified as one of the "discipelen" who was to execute the
paintings to Rubens' designs.[7]
In 1620, at the instigation of the brother of the Duke of Buckingham, van Dyck went to
England for the first time where he worked for King James I and James VI, receiving £100. [6] It was in London in the collection of Earl of Arundel that he first saw the work of Titian, whose use of colour and subtle
modeling of form would prove transformational, offering a new stylistic
language that would enrich the compositional lessons learned from Rubens.[8]
Genoan hauteur
from the Lomelli family, 1623
After about four months he returned to Flanders, but moved on in late
1621 toItaly, where he remained for 6 years,
studying the Italian masters and beginning his career as a successful
portraitist. He was already presenting himself as a figure of consequence,
annoying the rather bohemian Northern artist's colony in Rome, says Bellori, by appearing with "the
pomp ofXeuxis... his behaviour was that of a
nobleman rather than an ordinary person, and he shone in rich garments; since
he was accustomed in the circle of Rubens to noblemen, and being naturally of
elevated mind, and anxious to make himself distinguished, he therefore wore -
as well as silks - a hat with feathers and brooches, gold chains across his
chest, and was accompanied by servants." [9]
He was mostly
based in Genoa, although he also travelled
extensively to other cities, and stayed for some time in Palermo in Sicily. For the Genoese aristocracy,
then in a final flush of prosperity, he developed a full-length portrait style,
drawing on Veronese and Titian as well as Rubens' style
from his own period in Genoa, where extremely tall but graceful figures look
down on the viewer with great hauteur. In 1627, he went back to Antwerp where
he remained for five years, painting more affable portraits which still made
hisFlemish patrons look as stylish as possible. A
life-size group portrait of twenty-four City Councillors of Brussels he painted for the council-chamber was
destroyed in 1695.[10]. He was evidently very
charming to his patrons, and, like Rubens, well able to mix in aristocratic and
court circles, which added to his ability to obtain commissions. By 1630 he was
described as the court painter of the Habsburg Governor of Flanders, the
Archduchess Isabella. In this period he also produced many religious works,
including large altarpieces, and began his printmaking
(see below).
The more intimate, but still elegant style he developed in England, ca
1638
King Charles I was the most passionate and generous collector of art
among the British monarchs, and saw art as a way of promoting his grandiose
view of the monarchy. In 1628 he bought the fabulous collection that the Gonzagasof Mantua were forced to dispose of, and he had
been trying since his accession in 1625 to bring leading foreign painters to
England. In 1626 he was able to persuade Orazio Gentileschi to settle in England, later to be
joined by his daughter Artemesia and some of his sons. Rubens was an
especial target, who eventually came on a diplomatic
mission, which included painting, in 1630, and later supplied more paintings
from Antwerp. He was very well treated during his nine month visit, during
which he was knighted. Charles' court portraitist Daniel Mytens, was a somewhat
pedestrian Fleming. Charles was extremely short (less than five foot tall) and
presented challenges to a portraitist.
Van Dyck had remained
in touch with the English court, and had helped King Charles' agents in their
search for pictures. He had also sent back some of his own works, including a
portrait (1623) of himself with Endymion Porter, one of Charles's
agents, a mythology (Rinaldo and Armida, 1629, now in theBaltimore Museum of Art), and a
religious work for the Queen. He had also painted Charles's sister, Queen Elizabeth of Bohemia in the Hague in 1632. In April that year, van Dyck
returned to London, and was taken under the wing of the court immediately,
being knighted in July and at the same time receiving a pension of £200 per
year, in the grant of which he was described as principalle Paynter in ordinary to their majesties.
He was well paid for paintings in addition to this, at least in theory, as King
Charles did not actually pay over his pension for five years, and reduced the
price of many paintings. He was provided with a house on the river at Blackfriars, then just outside the City and
hence avoiding the monopoly of the Painters Guild. A suite of rooms in Eltham Palace, no longer used by the
Royal family, was also provided as a country retreat. His
Blackfriars studio was frequently visited by the King and Queen (later a
special causeway was built to ease their access), who hardly sat for another
painter whilst van Dyck lived.[6] [11]
King Charles I,
ca. 1635 Louvre - see text
He was an immediate success in England, rapidly painting a large number
of portraits of the King and Queen Henrietta Maria, as well as their
children. Many portraits were done in several versions, to be sent as
diplomatic gifts or given to supporters of the increasingly embattled king.
Altogether van Dyck has been estimated to have painted forty portraits of King
Charles himself, as well as about thirty of the Queen, nine of Earl of Strafford and multiple ones of other courtiers. [12] He painted many of the court, and also
himself and his mistress, Margaret Lemon. In England he developed a version of
his style which combined a relaxed elegance and ease with an understated
authority in his subjects which was to dominate English portrait-painting to
the end of the 18th century. Many of these portraits have a
lush landscape background. His portraits of Charles on horseback updated the
grandeur of Titian's Emperor Charles V, but even more effective and original is
his portrait of Charles dismounted in the Louvre: "Charles is given a
totally natural look of instinctive sovereignty, in a deliberately informal
setting where he strolls so negligently that that he seems at first glance
nature's gentleman rather than England's King" [13] Although his portraits have created
the classic idea of "Cavalier" style and dress, in fact
a majority of his most important patrons in the nobility, such as Lord Wharton and the Earls of Bedford, Northumberland and Pembroke, took theParliamentarian side in the English Civil War that broke out soon after his death.[14]
Van Dyck became a
"denizen", effectively a citizen, in 1638 and married Mary, the
daughter of Lord Ruthven and a Lady in waiting to the Queen, in 1639-40; this may
have been instigated by the King in an attempt to keep him in England.[6] He had spent most of 1634 in Antwerp,
returning the following year, and in 1640-41, as the Civil War loomed, spent
several months in Flanders and France. In 1640 he accompanied prince John Casimir of Poland after he was freed from French
imprisonment;[15][16] he also painted the prince's portrait. [15][17] He left again in the summer of 1641,
but fell seriously ill inParis and
returned hurriedly to London, where he died soon after in his house at
Blackfriars.[7] He left a daughter each by his wife
and mistress, the first only ten days old. Both were provided for, and both
ended up living in Flanders.[18]
He was buried in Old St. Paul's Cathedral, where the
king erected a monument in his memory:
Anthony returned to England, and shortly afterwards he
died in London, piously rendering his spirit to God as a good Catholic, in the
year 1641. He was buried in St. Paul's, to the sadness of the king and court
and the universal grief of lovers of painting. For all the riches he had
acquired, Anthony van Dyck left little property, having spent everything on
living magnificently, more like a prince than a painter.[19]
Samson and Delilah,
ca. 1630. A strenuous history painting in the manner of Rubens; the saturated
use of color reveals van Dyck's study ofTitian.
With the partial
exception of Holbein, van Dyck and his exact
contemporary Velázquez were the first painters of pre-eminent talent to work
mainly as Court portraitists. The slightly younger Rembrandt was also to work mainly as a
portraitist for a period. In the contemporary theory of the Hierarchy of genres portrait-painting came well belowHistory painting (which covered religious scenes also),
and for most major painters portraits were a relatively small part of their
output, in terms of the time spent on them (being small, they might be numerous
in absolute terms). Rubens for example mostly painted portraits only of his
immediate circle, but though he worked for most of the courts of Europe, he
avoided exclusive attachment to any of them.
A variety of factors meant that in the 17th century demand
for portraits was stronger than for other types of work. Van Dyck tried to
persuade Charles to commission him to do a large-scale series of works on the
history of the Order of the Garter for the Banqueting House, Whitehall, for which
Rubens had earlier done the huge ceiling paintings (sending them from Antwerp).
Henrietta Maria and the dwarf, Sir Jeffrey Hudson, 1633
A sketch for one wall remains, but by 1638 Charles was too
short of money to proceed.[6] This was a problem Velázquez did not have,
but equally van Dyck's daily life was not encumbered by trivial court duties as
Velázquez's was. In his visits to Paris in his last years van Dyck tried to
obtain the commission to paint the Grande
Gallerie of the Louvre without success.[20]
A list of history paintings
produced by van Dyck in England survives, by Bellori, based on information by Sir Kenelm Digby; none of these still
appear to survive, although the Eros
and Psyche done for the King
(below) does.[6] But many other works, rather more
religious than mythological, do survive, and though they are very fine, they do
not reach the heights of Velázquez's history paintings. Earlier ones remain
very much within the style of Rubens, although some of his Sicilian works are
interestingly individual.
Van Dyck's portraits
certainly flattered more than Velázquez's; when Sophia, later Electoress of
Hanover, first met Queen Henrietta Maria, in exile in Holland in 1641, she
wrote: "Van Dyck's handsome portraits had given me so fine an idea of the
beauty of all English ladies, that I was surprised to find that the Queen, who
looked so fine in painting, was a small woman raised up on her chair, with long
skinny arms and teeth like defence works projecting from her mouth..." [6] Some critics have blamed van Dyck for
diverting a nascent tougher English portrait tradition, of painters such asWilliam Dobson, Robert Walker and Issac Fuller into what certainly became elegant
blandness in the hands of many of van Dyck's successors, like Lelyor Kneller.[6] The conventional view has always been
more favourable: "When Van Dyck came hither he brought Face-Painting to us;
ever since which time … England has excel'd all the World in that great
Branch of the Art’ (Jonathan Richardson: An
Essay on the Theory of Painting, 1715, 41). Thomas Gainsborough is reported to have said on his
deathbed "We are all going to heaven, and Van Dyck is of the
Company."[21]
A fairly small
number of landscape pen and wash drawings or watercolours made in England played an important
part in introducing the Flemish watercolour landscape tradition to England.
Some are studies, which reappear in the background of paintings, but many are
signed and dated and were probably regarded as finished works to be given as
presents. Several of the most detailed are of Rye, a port for ships to the Continent,
suggesting that van Dyck did them casually whilst waiting for wind or tide to
improve.[22]
Probably during his period in Antwerp after his
return from Italy, van Dyck began his Iconography,
eventually a very large series of prints with half-length portraits of eminent contemporaries.
Van Dyck produced drawings, and for eighteen of the portraits he himself etched with great brilliance the heads and
the main outlines of the figure, for an engraver to work up: "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"[23]
Pieter Brueghel the Younger from theIconography; etching by
Van Dyck (only)
However for most of the series he left the whole printmaking work to specialists, who mostly
engraved everything after his drawings. His own etched plates appear not to
have been published commercially until after his death, and early states are
very rare.[24] Most of his plates were printed after
only his work had been done; some exist in further states after engraving had been added,
sometimes obscuring his etching. He continued to add to the series until at
least his departure for England, and presumably added Inigo Jones whilst in London.
The series was a great success, but was his only venture into printmaking;
portraiture probably paid better, and he was constantly in demand. At his death
there were eighty plates by others, of which fifty-two were of artists, as well
as his own eighteen. The plates were bought by a publisher; with the plates
reworked periodically as they wore out they continued to be printed for
centuries, and the series added to, so that it reached over two hundred
portraits by the late 18th century. In 1851 the plates were bought by theCalcographie
du Louvre.[25]
The Iconography was highly influential as a commercial
model for reproductive printmaking; now forgotten series of portrait prints
were enormously popular until the advent of photography:"the importance of
this series was enormous, and it provided a repertory of images that were
plundered by portrait painters throughout Europe over the next couple of centuries."[21] Van Dyck's brilliant etching style,
which depended on open lines and dots, was in marked contrast to that of the other
great portraitist in prints of the period, Rembrandt, and had little influence
until the 19th century, when it had a great influence on artists such as Whistlerin the last major phase of
portrait etching. [23] Hyatt Mayor wrote: "Etchers have studied Van
Dyck ever since, for they can hope to approximate his brilliant directness,
whereas nobody can hope to approach the complexity of Rembrandt's
portraits"[26]
This triple
portrait of King Charles I was sent to Rome for Bernini to model a bust on
His great success
compelled van Dyck to maintain a large workshop in London, a
studio which was to become "virtually a production line for
portraits". According to a visitor to his studio he usually only made a
drawing on paper, which was then enlarged onto canvas by an assistant; he then
painted the head himself. The clothes were left at the studio and often sent
out to specialists.[21] In his last years these studio
collaborations accounted for some decline in the quality of work.[27] In addition many copies untouched by
him, or virtually so, were produced by the workshop, as well as by professional
copyists and later painters; the number of paintings ascribed to him had by the
19th century become huge, as with Rembrandt, Titian and others. However most of his
assistants and copyists could not approach the refinement of his manner, so
compared to many masters consensus among art historians on attributions to him is usually
relatively easy to reach, and museum labelling is now mostly updated (country house attributions may be more dubious in
some cases). The relatively few names of his assistants that are known are
Dutch or Flemish; he probably preferred to use trained Flemings, as no English
equivalent training yet existed.[6] Adriaen Hanneman (1604-71) returned to his native Hague in
1638 to become the leading portraitist there.[28] Van Dyck's enormous influence of
English art does not come from a tradition handed down through his pupils; in
fact it is not possible to document a connection to his studio for any English
painter of any significance.[6]
§
Van Dyck painted many portraits of
men, notably Charles I and himself, with the short, pointed beards then in
fashion; consequently this particular kind of beard was much later (probably
first in America in the 19th century) named a vandykeor Van dyke beard (which is the anglicized version of
his name).
§
During the reign
of George III, a generic
"Cavalier" fancy-dress costume called a Van Dyke was popular;Gainsborough's 'Blue Boy' is wearing
such a Van Dyke outfit.
§
The oil paint pigment van
Dyck brown is named after
him, and Van dyke brown is an early photographic printing
process using the same colour.
§
See also several people and places under Van Dyke, the more common form in
English of the same original name.
Most major museum collections include at least one
Van Dyck, but easily the most outstanding collection is the Royal Collection,
which still contains many of his paintings of the Royal Family. The National Gallery, London (fourteen works), TheMuseo del Prado (Spain) (twenty five works), The Louvre in Paris (eighteen
works), The Alte Pinakothek in Munich, TheNational Gallery of Art in Washington DC and the Frick Collection have splendid examples of all phases
of his portrait style.
Tate Britain held the exhibition Van Dyck & Britain in 2009.[29]
Ernst Gombrich nous apprend que Anton Van Dyck (1599 - 1641) devint le peintre de la
cour de Charles Ier sous le nom anglicisé de Sir Anthony Vandyke et fit le
portrait d'une bonne partie de la noblesse proche du roi. Il avait d'ailleurs
tellement de commandes qu'il se faisait aider par des aides qui peignaient les
costumes des modèles disposés sur des mannequins, le maître se contentant
de peindre les visages ou apporter une simple touche finale.
Le portrait de Charles Ier, roi d'Angleterre dit portrait du
roi à la chasse (que Van Dyck n'a sans doute pas laissé à ses assistants pour
cette fois !) représente le souverain au retour d'une partie de chasse "tel sans doute
qu'il désirait être vu par la postérité : un prince d'une élégance hors pair,
d'une culture raffinée, protecteur des arts, détenteur du pouvoir royal de
droit divin" (E. Gombrich).
Ce portrait payé par Charles Ier n'est pas resté
en Angleterre, le tableau a été transporté en France et acheté par Louis XVI en
1775. L'acquisition
de ce tableau par Louis XVI est un raccourci saisissant car Charles Ier,
partisan d’un pouvoir absolu, voulut imposer à son pays la religion anglicane
et la monarchie de droit divin. Après plusieurs années d'affrontement avec les
parlementaires il fut confronté à une guerre civile et victime de la
première révolution anglaise. Vaincu par Olivier Cromwell et capturé il fut condamné à mort et
décapité (à la hache) en janvier 1649.
Cet évènement est d'ailleurs raconté par Alexandre Dumas
dans "Vingt Ans après" la suite qu'il donna aux "Trois
Mousquetaires". L'action se déroule à l'époque de la Fronde, entre 1648 et
1649. Les quatre héros ont vieilli et sont d'abord séparés par leurs idées
politiques: Athos et Aramis sont du côté des Princes, d'Artagnan et Porthos du
côté de Mazarin. Mais ils finissent par se réunir pour venir en aide à Charles
Ier d'Angleterre. Dans le chapitre intitulé "Remember", Dumas raconte
l'exécution du roi il imagine que les quatre amis, qui n'ont pu sauver le roi,
réussissent, à s'introduire sur le lieu de l'exécution, Athos s'étant glissé
sous l'échafaud.
"Alors Charles s'agenouilla, fit le signe
de la croix, approcha sa bouche des planches comme s'il eut voulu baiser la
plateforme; puis s'appuyant d'une main sur la plancher et de l'autre sur la billot :
- Comte de la Fère, dit il en français, êtes
vous là et puis je vous parler ?
Cette voix frappa droit au coeur d'Athos et le
perça comme un fer glacé.
- Oui Majesté, dit il en tremblant.
- Ami fidèle, coeur généreux, dit le roi, je
n'ai pu être sauvé, je ne devais pas l'être."
Toujours à propos de ce roi j'ai trouvé ce
tableau au Département des objets d'art : "Charles Ier recevant une rose
des mains d'une jeune fille, au moment où il est conduit prisonnier au château
de Carisbrook, pour être bientôt condamné et exécuté" peint par Eugène
Lami en 1829 dans la veine historique et romantique du début du XIXe siècle.
Portrait De Marie
Louise. Fille De François Ier, Empereur D'autriche. Biographie
Carte Postale Marie Louise
Mais, si je devais distinguer une œuvre de Van Dyck, ce
serait probablement le portrait deMarie-Louise de Tassis : une splendeur ! ...
louvre-passion.over-blog.com/article-7024576-6.html - En cache - Pages similaires -
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The painting
'Portrait of Marie-Louise de Tassis'
from Anthonis van Dyck is available as hand painted oil painting, Art print on
canvas and as poster ...
www.wooop.com/app?service=external/...sp...
- États-Unis - En cache -
De même, Van Dyck évoque la douleur de la Vierge Marie avec
une plus grande .... Alors qu'il se préparait à déménager,
il apprit que Louis XIII était sur le ...
users.skynet.be/pierre.bachy/van_dyck.html - En cache -
Marie louise fille empereur d'autriche. Carte raviel
empereur des fantasmes. Interpretation du portrait de marie louise de tassis ...
www.priceminister.com/.../Carte-Postale-Marie-Louise-Portrait-De-Marie-Louise-Fille-De-Francois-Ier-Empereur-D-a...
- En cache - Pages similaires -
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Marie-Louise
de Tassis, Antwerp 1630. Queen Henrietta Maria, London 1632.
Charles I with M. de St Antoine (1633). James Stuart, Duke of Richmond, ca.
1637 ...
en.wikipedia.org/wiki/Anthony_van_Dyck
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Download
Portrait of Marie-Louise de Tassis as wallpapers and desktop backgrounds
available in all screen resolutions.
www.art-wallpaper.com/.../Portrait+of+Marie-Louise+de+Tassis - En cache -
Portrait de Marie-Louise de Tassis.
Autoportrait. Charles Ier, roi d'Angleterre. La Famille Lomellini. Marguerite
de Lorraine ...
fr.wikipedia.org/wiki/Antoine_van_Dyck - En cache - Pages similaires -
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Marie-Louise
de Tassis of Sir
Anthonis van Dyck fine art prints on canvas.
www.my-art-prints.co.uk/.../Marie-Louise-de-Tassis-5736.html
- En cache -
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Portrait of Marie-louise de Tassis after Anthony Van Dyck. Written on
July 22, 2008. My second Van Dyck piece went in a very different direction
after ...
baroquenheart.com/?p=19 - En cache -
Marie-Louise de Tassis,
Antwerp 1630
Queen Henrietta Maria, London 1632;_Anthony_Van_Dyck.jpg)
James
Stuart, Duke of Richmond, ca. 1637
George Digby, 2nd Earl of Bristol, ca.
1638-9
;_Anthony_Van_Dyck.jpg)
![Charles' abdication had far-reaching consequences in imperial diplomatic relations with France and the Netherlands, particularly in his allotment of the Spanish kingdom to Philip. In France, the kings and their ministers grew increasingly uneasy about Habsburg encirclement and sought allies against Habsburg hegemony from among the border German territories, and even from some of the Protestant kings. In the Netherlands, Philip's ascension in Spain raised particular problems; for the sake of harmony, order, and prosperity Charles had not blocked the Reformation, and had tolerated a high level of local autonomy. An ardent Catholic and rigidly autocratic prince, Philip pursued an aggressive political, economic and religious policy toward the Dutch, resulting in a Dutch rebellion shortly after he became king. Philip's militant response meant the occupation of much of the upper provinces by troops of, or hired by, Habsburg Spain and the constant ebb and flow of Spanish men and provisions on the so-called Spanish road from northern Italy, through the Burgundian lands, to and from Flanders.[16]](http://en.wikipedia.org/wiki/File:Peace-of-augsburg_1555.jpg){kind=link}
