Oil on canvas

99 x 89 cm.

In an antique frame, 118 x 106 cm.

We are pleased to present a work of great merit: an oil painting on canvas based on the famous ‘Portrait of Charles I of England on Horseback’ by Anthoon van Dyck (Antwerp 1599 – London 1641) around 1636 and now on display at the National Gallery in London: it is a masterpiece of Baroque portraiture that stands out for its majestic composition (Fig. 1).

There is a smaller-scale version, probably its preparatory ‘study’, still in the Royal Collection (Windsor Castle), painted by Van Dyck between 1635 and 1636 with slight retouches and anatomical variations or changes to the position of the armour (Fig. 2).

Van Dyck had arrived in London a few years earlier, in 1632, where he was appointed court painter to King Charles I Stuart of England, his principal patron and, at the same time, a great collector. The sovereign realised that art possessed incredible power as a means of political propaganda, and for this reason he had Van Dyck paint his portrait on numerous occasions, both surrounded by his family, with his wife Henrietta, and on his own.

The most ambitious and fascinating portraits, however, are those of the ‘equestrian series’, in which the artist presented a proud and majestic image of an absolute monarch: we see him immortalised on horseback, on an unprecedented scale, as a sovereign, warrior and knight, in the long tradition of ancient and Renaissance equestrian monuments.

In addition to the painting mentioned, Van Dyck painted two other important portraits of the king on horseback: the ‘Portrait of Charles I with M. de Saint-Antonie, his riding master’ (1636, Windsor Castle, Windsor) and ‘Le Roi à la Chasse’ (c. 1635, Paris, Louvre).

In this instance, Van Dyck, drawing inspiration from Titian’s ‘Portrait of Charles V on Horseback’ (1548, Museo del Prado, Madrid), depicted the king in his ceremonial armour, holding the baton of command and wearing the medallion of the Order of the Garter around his neck, as if he were taking his place at the head of his knights. In his retinue is a page holding the helmet. On the pole is a plaque which, although the inscription is now barely legible in our painting, bore the king’s name: ‘Carlvs Rex Magnae Britanniae’.

The magnificent horse, with its powerfully muscled build clearly emphasised, serves as a worthy mount for the king, depicted at a walk, with one hoof raised and its gaze firmly directed in the same direction as the rider. The distinctive composition, with the trees in the background, succeeds in placing the sovereign’s gaze at the centre of the scene, as it looks out towards the opening in the landscape, symbolising his foresight.

These elements reinforce his image as sovereign of Great Britain, whilst his refined features, loose hair and gentle, thoughtful expression convey the impression of a chivalrous knight.

The work’s success led to its widespread circulation, so much so that numerous copies are known to exist today, produced by artists from Van Dyck’s workshop or active at a later date, to satisfy patrons eager to possess the monarch’s effigy in their residences as a clear sign of loyalty to the ruling dynasty.

*

Fig. 1 – Antoon van Dyck, Portrait of Charles I on Horseback

1636, oil on canvas, 367 x 292 cm.

National Gallery, London

Fig. 2 – Antoon van Dyck, Portrait of Charles I on Horseback (preparatory sketch)

1635, oil on canvas, 96 x 86 cm.

Windsor Castle

FURTHER INFORMATION:

The work is set in an antique frame and is accompanied by a certificate of authenticity and a descriptive iconographic sheet.

We arrange and organise the transport of purchased works, both within Italy and abroad, using professional and insured carriers.

It is also possible to view the painting at our gallery in Riva del Garda; we would be delighted to welcome you to show you our collection of works.

Please feel free to contact us, with no obligation, for any further information.

You can also follow us on: