Triple Portrait of Charles I by Anton Van Dyck

Triple Portrait of Charles I by Anton Van Dyck
Triple Portrait of Charles I by Anton Van Dyck
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One of the greatest portrait painters of all time isAnton Van Dyck, a painter of Flemish origin who reached his full artistic maturity while working for theKing of England Charles I. He portrayed this monarch on numerous occasions and attitudes.

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Triple Portrait of Charles I by Anton Van Dyck

And among all those effigies stands out this curious work he did in 1635 en titled Carlos I in three positions or Triple Portrait. A certainly interesting work that today the monarchy keeps British at Windsor Castle.

This is a portrait format of which there are few examples throughout history. In this sense, it would be worth mentioning as background a curious portrait en titled Goldsmith seen from three positions that the Venetian Lorenzo Lotto painted in the 16th century, and that Van Dyck would know as part of theBritish Royal Collections. And in turn, it is very possible that the triple effigy of Charles I will end up influencing another work very close to the time of Philippe de Champaigne, who in 1640 painted a Triple portrait of Cardinal Richelieu.

Actually, Van Dyck made this triple view to serve as an extraordinary sketch and snapshot for the Italian sculptor Bernini, who since distance was going to sculpt a bust of the monarch. Even for that, he appears dressed in three waysdifferent, to give more variants. The marble sculpture was made and delivered to the king, being a complete success. And although the king had not paid for it, but it was a gift fromPope Urban VII, he ended up giving the sculptor a valuable ring in gratitude for his great work. However, today we cannot admire that work, since it was destroyed during a fire in the palace.

Although we still have this fabric and it is very interesting to see the detailed study of the monarch's face, not so much because of the thoroughness with which he provides us with all his features, as to learn a little more about the aesthetic fashion of the time. For example, to see that mustache combed up, or discover that the cut of the king's mane is asymmetrical. Something that can be compared with other portraits of the time.

The same thing happens with the clothes, especially with the embroidery and lace that can be seen on the neck, in each of the three different cases. What is identical in all three portraits is that the king appears wearing the blue sash of theOrder of the Garter, with which he should appear on the marble bust

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