Charles I
Oil Painting
ca. 1750 (made)
ca. 1750 (made)
| Artist/Maker | |
| Place of origin |
Object Type
This triple portrait had an unusual function as a kind of design for sculpture. In 1636 Charles I (ruled 1625-1649) dispatched the original of this painting by Sir Anthony van Dyck (1599-1641) to the sculptor Gian Lorenzo Bernini (1598-1680) in Rome. It was to assist in the making of a marble bust. The three viewpoints were chosen to enable the sculptor to create a truly three-dimensional likeness.
People
The sculpture was intended as a papal present to Queen Henrietta Maria (1609-1669). After the bust was finished, the painting remained in the possession of Bernini and passed to his descendants. It was brought back to England in 1802 and entered the Royal Collection in 1822. The bust itself was a great success with the King and Queen. It was eventually destroyed in a fire at Whitehall Palace, London, in 1698.
Ownership & Use
This painting is one of many copies that were made of van Dyck's original. It is later in date than most of the others. It is possible that it was commissioned by a supporter of the Stuart Royal Family in the mid-18th century. It may have been used as a kind of icon by opponents of the Hanoverian dynasty.
This triple portrait had an unusual function as a kind of design for sculpture. In 1636 Charles I (ruled 1625-1649) dispatched the original of this painting by Sir Anthony van Dyck (1599-1641) to the sculptor Gian Lorenzo Bernini (1598-1680) in Rome. It was to assist in the making of a marble bust. The three viewpoints were chosen to enable the sculptor to create a truly three-dimensional likeness.
People
The sculpture was intended as a papal present to Queen Henrietta Maria (1609-1669). After the bust was finished, the painting remained in the possession of Bernini and passed to his descendants. It was brought back to England in 1802 and entered the Royal Collection in 1822. The bust itself was a great success with the King and Queen. It was eventually destroyed in a fire at Whitehall Palace, London, in 1698.
Ownership & Use
This painting is one of many copies that were made of van Dyck's original. It is later in date than most of the others. It is possible that it was commissioned by a supporter of the Stuart Royal Family in the mid-18th century. It may have been used as a kind of icon by opponents of the Hanoverian dynasty.
Object details
| Categories | |
| Object type | |
| Title | Charles I (generic title) |
| Materials and techniques | oil on canvas |
| Brief description | Triple portrait of KING CHARLES I, after Anthony van Dyck, ca. 1750 |
| Physical description | Oil painting |
| Dimensions |
|
| Gallery label | British Galleries:
Van Dyck's portraits of Charles and the royal family created powerful images of royal dignity and elegance. His original version of this portrait had been sent to Rome in 1636. It served as a model for the sculptor Gian Lorenzo Bernini (1598-1680), whose marble bust of Charles I was a present from the Pope to Queen Henrietta Maria.(27/03/2003) |
| Credit line | Bequeathed by John Jones |
| Object history | Bequeathed by John Jones, 1882 |
| Production | About 1750, copying an original of 1635-1636 |
| Subject depicted | |
| Associations | |
| Summary | Object Type This triple portrait had an unusual function as a kind of design for sculpture. In 1636 Charles I (ruled 1625-1649) dispatched the original of this painting by Sir Anthony van Dyck (1599-1641) to the sculptor Gian Lorenzo Bernini (1598-1680) in Rome. It was to assist in the making of a marble bust. The three viewpoints were chosen to enable the sculptor to create a truly three-dimensional likeness. People The sculpture was intended as a papal present to Queen Henrietta Maria (1609-1669). After the bust was finished, the painting remained in the possession of Bernini and passed to his descendants. It was brought back to England in 1802 and entered the Royal Collection in 1822. The bust itself was a great success with the King and Queen. It was eventually destroyed in a fire at Whitehall Palace, London, in 1698. Ownership & Use This painting is one of many copies that were made of van Dyck's original. It is later in date than most of the others. It is possible that it was commissioned by a supporter of the Stuart Royal Family in the mid-18th century. It may have been used as a kind of icon by opponents of the Hanoverian dynasty. |
| Collection | |
| Accession number | 598-1882 |
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| Record created | March 27, 2003 |
| Record URL |
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