{"id":{"repo_id":"vcu","oai_identifier":"oai:scholarscompass.vcu.edu:etd-1615"},"canonical_url":"https://search.dev.ndltd.org/etd/vcu/oai:scholarscompass.vcu.edu:etd-1615","repository":{"repo_id":"vcu","name":"Virginia Commonwealth University","base_url":"https://scholarscompass.vcu.edu/do/oai/"},"display":{"title":"Contextualizing Anthony van Dyck's Iconography within the Emerging Traditions of Portraiture and Artists' Biography in the Early Modern Period","abstract":"The Flemish painter Anthony Van Dyck extended his preoccupation with portraiture into the printed medium by designing a body of portrait prints, posthumously compiled into a book entitled, the Iconography. This suite of images, organized and designed by Van Dyck and printed by workshop assistants between 1632 and 1644, is comprised of engraved and etched half-length portraits of contemporary European men and women of various professions and backgrounds, including artists, scholars, diplomats, and religious leaders. This thesis examines the artistic and literary context for Van Dyck’s Iconography, with a focus on the changing social and intellectual status of artists in northern Europe during the seventeenth century. It seeks to provide the scholarship on the Iconography with an understanding of how the portraits function as a collective group that enhanced the prestige of artists in the seventeenth century.","abstract_html":"The Flemish painter Anthony Van Dyck extended his preoccupation with portraiture into the printed medium by designing a body of portrait prints, posthumously compiled into a book entitled, the Iconography. This suite of images, organized and designed by Van Dyck and printed by workshop assistants between 1632 and 1644, is comprised of engraved and etched half-length portraits of contemporary European men and women of various professions and backgrounds, including artists, scholars, diplomats, and religious leaders. This thesis examines the artistic and literary context for Van Dyck’s Iconography, with a focus on the changing social and intellectual status of artists in northern Europe during the seventeenth century. It seeks to provide the scholarship on the Iconography with an understanding of how the portraits function as a collective group that enhanced the prestige of artists in the seventeenth century.","abstract_has_math":false,"creators":["Nye, Casey"],"institution":null,"degree_name":"Master of Arts","degree_level":"Thesis","degree_discipline":"Art History","degree_department":null,"school":null,"contributors":["Janna Israel"],"advisors":[],"committee_chairs":[],"committee_members":[],"year":2014,"date_issued":"2014-04-23T07:00:00Z","date_published":"2014-04-23T07:00:00Z","updated_at":"2026-07-24T05:54:11Z","subjects":["Anthony van Dyck","Van Dyck","Portraiture","Biography","Prints","Portrait Prints","Rubens","Iconography","Artists' Biography","Arts and Humanities"],"languages":[],"rights":["© The Author"],"rights_urls":[],"identifier_entries":[{"key":"dc:identifier","label":"Identifier","values":["https://scholarscompass.vcu.edu/etd/616"],"render_values":[{"text":"https://scholarscompass.vcu.edu/etd/616","href":"https://scholarscompass.vcu.edu/etd/616","code":true}]}]},"links":{"outbound_url":"https://doi.org/10.25772/MVXS-0F16","outbound_label":"DOI","outbound_source":"dc:identifier"},"metadata_groups":[{"id":"people","label":"People","entries":[{"key":"dc:contributor","label":"Contributor","values":["Janna Israel"]},{"key":"dc:creator","label":"Author","values":["Nye, Casey"]}]},{"id":"academic_context","label":"Academic Context","entries":[{"key":"dc:date.available","label":"Dc Date Available","values":["2024-05-12T07:00:00Z"]},{"key":"thesis:degree_discipline","label":"Discipline","values":["Art History"]},{"key":"thesis:degree_level","label":"Degree Level","values":["Thesis"]},{"key":"thesis:degree_name","label":"Degree Name","values":["Master of Arts"]}]},{"id":"subjects_keywords","label":"Subjects and Keywords","entries":[{"key":"dc:subject","label":"Dc Subject","values":["Anthony van Dyck","Van Dyck","Portraiture","Biography","Prints","Portrait Prints","Rubens","Iconography","Artists' Biography","Arts and Humanities"]}]},{"id":"language_rights","label":"Language and Rights","entries":[{"key":"dc:rights","label":"Dc Rights","values":["© The Author"]}]},{"id":"identifiers","label":"Identifiers","entries":[{"key":"dc:identifier","label":"Identifier","values":["https://doi.org/10.25772/MVXS-0F16","https://scholarscompass.vcu.edu/etd/616"]}]},{"id":"additional","label":"Additional Metadata","entries":[{"key":"dc:description.abstract","label":"Abstract","values":["The Flemish painter Anthony Van Dyck extended his preoccupation with portraiture into the printed medium by designing a body of portrait prints, posthumously compiled into a book entitled, the Iconography. This suite of images, organized and designed by Van Dyck and printed by workshop assistants between 1632 and 1644, is comprised of engraved and etched half-length portraits of contemporary European men and women of various professions and backgrounds, including artists, scholars, diplomats, and religious leaders. This thesis examines the artistic and literary context for Van Dyck’s Iconography, with a focus on the changing social and intellectual status of artists in northern Europe during the seventeenth century. It seeks to provide the scholarship on the Iconography with an understanding of how the portraits function as a collective group that enhanced the prestige of artists in the seventeenth century."]},{"key":"dc:title","label":"Title","values":["Contextualizing Anthony van Dyck's Iconography within the Emerging Traditions of Portraiture and Artists' Biography in the Early Modern Period"]}]}],"canonical_facts":{"dc:contributor":["Janna Israel"],"dc:creator":["Nye, Casey"],"dc:date.available":["2024-05-12T07:00:00Z"],"dc:description.abstract":["The Flemish painter Anthony Van Dyck extended his preoccupation with portraiture into the printed medium by designing a body of portrait prints, posthumously compiled into a book entitled, the Iconography. This suite of images, organized and designed by Van Dyck and printed by workshop assistants between 1632 and 1644, is comprised of engraved and etched half-length portraits of contemporary European men and women of various professions and backgrounds, including artists, scholars, diplomats, and religious leaders. This thesis examines the artistic and literary context for Van Dyck’s Iconography, with a focus on the changing social and intellectual status of artists in northern Europe during the seventeenth century. It seeks to provide the scholarship on the Iconography with an understanding of how the portraits function as a collective group that enhanced the prestige of artists in the seventeenth century."],"dc:identifier":["https://doi.org/10.25772/MVXS-0F16","https://scholarscompass.vcu.edu/etd/616"],"dc:rights":["© The Author"],"dc:subject":["Anthony van Dyck","Van Dyck","Portraiture","Biography","Prints","Portrait Prints","Rubens","Iconography","Artists' Biography","Arts and Humanities"],"dc:title":["Contextualizing Anthony van Dyck's Iconography within the Emerging Traditions of Portraiture and Artists' Biography in the Early Modern Period"],"thesis:degree_discipline":["Art History"],"thesis:degree_level":["Thesis"],"thesis:degree_name":["Master of Arts"]},"updated_at":"2026-07-24T05:54:11Z"}