The first major examination of Anthony van Dyck's work as a portraitist and an essential resource on this aspect of his illustrious career This landmark volume is a comprehensive survey of the portrait drawings, paintings, and prints of Anthony van Dyck (1599-1641), one of the most celebrated portraitists of all time. His supremely elegant style and ability to convey a sense of a sitter's inner life made him a favored portraitist among high-ranking figures and royalty across Europe, as well as among his fellow artists and art enthusiasts. Showcasing the full range of Van Dyck's fascinating international career with more than 100 works, this catalogue celebrates the artist's versatility, inventiveness, and influential approach to portraiture. Works include preparatory drawings and oil sketches that shed light on Van Dyck's working process, prints that allowed his work to reach a wider audience, and grand painted portraits. Some of the masterpieces are drawn from the exceptional holdings of The Frick Collection, while other works are presented here for the first time. Also included are drawings by some of Van Dyck's contemporaries--including his teacher Peter Paul Rubens--that illuminate the lineage of his working method. With insightful contributions by a team of international scholars, this unparalleled study of Van Dyck offers a compelling case for the distinctiveness and importance of the artist's work.

Literary Nonfiction. LGBTQIA Studies. Art. Performance Art. Hybrid Genre. Memoir. California Interest. Stephen van Dyck's PEOPLE I'VE MET FROM THE INTERNET is a queer reimagining of the coming-of-age narrative set at the dawn of the internet era. In 1997, AOL is first entering suburban homes just as thirteen-year-old Stephen is coming into his sexuality, constructing selves and cruising in the fantasyscape of the internet. Through strange, intimate, and sometimes perilous physical encounters with the hundreds of men he finds there, Stephen explores the pleasures and pains of growing up, contends with his mother's homophobia and early death, and ultimately searches for a way of being in the world. Spanning twelve years, the book takes the form of a very long annotated list, tracking Stephen's journey and the men he meets from adolescence in New Mexico to post-recession adulthood in Los Angeles, creating a multi-dimensional panorama of gay men's lives as he searches for glimpses of utopia in the available world.

In the spring of 1624 the painter Anthony Van Dyck (1599 -1641) moved from Genoa to Palermo in Sicily. Soon after Van Dyck's arrival, plague struck Palermo and most of the population died. In the same year, the bones of Saint Rosalia were discovered in a cave on the Monte Pellegrino where she was said to have died as a hermit in the Middle Ages. This will be the first exhibition to focus on Van Dyck's work during this period. The exhibition takes Dulwich's own Portrait of Emanuele Filiberto as a starting point and expands into an examination of Van Dyck's activity in that year. It will also be the first time in the UK that Van Dyck's portrait of the Viceroy of Sicily from Dulwich's own collection will be seen next to the spectacular suit of armour worn by the viceroy in the portrait - still surviving in the Royal Armouries of Madrid--Provided by publisher

Show-business legend Dick Van Dyke is living proof that life does get better the longer you live it. Who better to offer instruction, advice, and humor than someone who's entering his ninth decade with a jaunty two-step? Van Dyke isn't just a born song-and-dance man; his irrepressible belief in embracing the moment and unleashing his inner child has proved to be the ultimate elixir of youth. When he was injured during the filming of Chitty Chitty Bang Bang, his doctor warned him he'd be using a walker within seven years, but Dick performed a soft shoe right there and never looked back. In Keep Moving, Dick Van Dyke offers his own playful anecdotes and advice, as well as insights from his brother, actor Jerry Van Dyke; his friend and creator of The Dick Van Dyke Show, Carl Reiner; and other spirited friends and family. Whether he's describing the pleasure he takes in his habitual visits to the grocery store; how he met his late-in-life-love Arlene; or how he sprung back, livelier than ever, from a near-death experience, Dick's optimistic outlook is an invigorating tonic for anyone who needs a reminder that life should be lived with enthusiasm despite what the calendar says. "You don't have to act your age. You don't even have to feel it. And if it does attempt to elbow its way into your life, you do not have to pay attention. If I am out shopping and hear music playing in a store, I start to dance. If I want to sing, I sing. I read books and get excited about new ideas. I enjoy myself. I don't think about the way I am supposed to act at my age - or at any age. As far as I know, there is no manual for old age. There is no test you have to pass. There is no way you have to behave. There is no such thing as 'age appropriate.' When people ask my secret to staying youthful at an age when getting up and down from your chair on your own is considered an accomplishment, you know what I tell them? 'Keep moving.'" - Dick Van Dyke

Published to accompany the exhibition held at Tate Britain, London, 18 Feb.-17 May 2009.

Based on a close study of Van Dyck's Self-portrait with a Sunflower, this book examines the picture's context in the symbolic discourses of the period and in the artist's oeuvre. The portrait is interpreted as a programmatic statement, made in the ambience of the Caroline court after Van Dyck's appointment as 'Principal Painter', of his view of the art of painting. This statement, formulated in appropriately visual terms, characterizes painting as a way of looking and seeing, a mode of vision. In making such a claim, the artist steps aside from the familiar debate about whether painting was a manual or an intellectual discipline, and moves beyond any idea of it as simply a means of representing the external world: the painter's definitive faculty of vision can reach further than those realities which present themselves to the eye. John Peacock analyses the motif of looking - the ways in which figures regard or disregard each other - throughout Van Dyck's work, and the images of the sunflower and the gold chain in this particular portrait, to reveal what is essentially an idealist conception of pictorial art. He contradicts previous opinions that the artist was pedestrian in his thinking, by showing him to be familiar with a range of ideas current in contemporary Europe about painting and the role of the painter.

Reprint of the original, first published in 1881.