In many of the other examples strewn about the country he shows yet a greater approach to Van Dyck.
Van Dyck was never more than a prince; just an heir to the throne.
Van Dyck kept his head, in spite of the maddening fatigue that was fairly killing every man of us.
The large copy after Van Dyck of the family group is dated 1635.
In this country he came into friendly relations with Van Dyck, whom he took as his model in the art of portraiture.
His talents were so great that he was known as the Van Dyck franais.
Van Dyck spent three years in Genoa, where he was employed by those foremost in its life to paint their portraits.
It was in the possession of these very qualities that Van Dyck surpassed Rubens.
In a small room, which a portrait by Holbein would have decorated nobly, a canvas by Van Dyck would have been overpowering.
By common consent Van Dyck was chosen, and he set to work with a will.