Portrait of Pieter Breughel (II the youngster) - Anthony van Dyck - 1630 - 1640

Artworks with the same keyword

Portrait of Leonard van Kerckhove, King of the Guild of St. George in Bruges - Jacob van Oost II - 1665
Nicolaas Rockox - Attributed to Peter Paul Rubens - 1613 - 1615
Portrait of Lady Anne Rushout - Marcus (II) Gheeraerts - 1631
Portrait of the Archduchess Isabella - Beginning of the 17th Century Anonymous Master - 1601 - 1620
Elizabeth of Bourbon, wife of Philip IV - Jacob Louys - 1644 - 1650
Portrait of Claude de Corte (+1687) - Anonymous - 1674
Guardian Portrait of S. Vander Banck - Anonymous - 1601 - 1700
The Head of a Young Moor - Gaspar de Crayer - circa 1631 - 1635
Portrait of Johannes Despars (°1524 - +1622) - Anonymous - 1601 - 1700
Portrait of Frans Wynckelman (+1725) - Jacob van Oost II - 1709 - 1710
Guardian Portrait of F. Parmentier - Anonymous - 1601 - 1700
Portrait of Wladislaus Sigismond, Prince of Poland and Sweden - Paulus Pontius (I) - 1624

Portrait of Pieter Breughel (II the youngster)

Anthony van Dyck
1630 - 1640
159.0 mm x 251.0 mm
Inventory number: 
Museum Plantin-Moretus/ Print Room
17th century

Pieter Brueghel the Younger looks directly at the viewer; it is striking that he is somewhat cross-eyed. In his right hand he holds a rolled-up piece of paper, the right arm is supported by the draped cloak, alluding to a Roman toga. Van Dyck probably started on the preparation for his Iconography or 'Icones Principum Virorum' immediately after his return from Italy. Originally the Iconography was a collection of portraits of artists and art collectors, but later the project was extended to portraits of monarchs, commanding officers, statesmen and scholars. It was Van Dyck’s intention to personally etch the faces and to have the clothing and background finished by an engraver, but he himself only etched 18 portraits of mainly fellow-artists who were his friends. This etching of the portrait of Pieter Brueghel the Younger was also created completely by Anthony van Dyck. Afterwards Van Dyck called on the assistance of Paulus Pontius, Schelte Adamsz Bolswert, Pieter de Jode, and Lucas Vorsterman, engravers with whom he may well already have worked in Rubens’s workshop. Most of the prints in the Iconography were based on drawings from life that Van Dyck himself made with a view to his Iconography. As preparation for this etching Van Dyck made a drawing which is now in the collection of the Duke of Devonshire in Chatsworth (England).