The 1632 appointment of Van Dyck as Court Painter by King Charles I changed the course of art in England. But in spite of its importance, the dynamics and mechanics of this event remain imperfectly understood. This paper suggests that one determining factor was the influence of George Villiers, Duke of Buckingham. An early admirer of Van Dyck, Buckingham in turn incarnated the young artist's own aspirations to aristocratic status. For Charles, the Duke was a personal partner and aesthetic alter-ego whose presence in the King's psyche remained strong long after Buckingham's assassination in 1628. The examination of certain of Van Dyck's paintings of the 1620's shows how the interlocking agendas and affinities of the three men combined to affect the evolution of English art.
| Identifer | oai:union.ndltd.org:LACETR/oai:collectionscanada.gc.ca:QMM.68100 |
| Date | January 1994 |
| Creators | Harvie, Ronald |
| Contributors | Glen, T. L. (advisor) |
| Publisher | McGill University |
| Source Sets | Library and Archives Canada ETDs Repository / Centre d'archives des thèses électroniques de Bibliothèque et Archives Canada |
| Language | English |
| Detected Language | English |
| Type | Electronic Thesis or Dissertation |
| Format | application/pdf |
| Coverage | Master of Arts (Department of Art History.) |
| Rights | All items in eScholarship@McGill are protected by copyright with all rights reserved unless otherwise indicated. |
| Relation | alephsysno: 001443414, proquestno: AAIMM94350, Theses scanned by UMI/ProQuest. |
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