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Europe 1300 - 1800
Course: Europe 1300 - 1800 > Unit 9
Lesson 4: Dutch Republic- Model of the Dutch East India Company ship "Valkenisse"
- The Dutch art market in the 17th century
- Why make a self portrait?
- A Dutch doll house
- Van Mander, Het Schilder-Boeck
- Frederiks Andries, Covered coconut cup
- Osias Beert, Still Life with Various Vessels on a Table
- Anthony van Dyck, Self-Portrait as Icarus with Daedalus
- Saenredam, Interior of Saint Bavo, Haarlem
- Hals, Singing Boy with Flute
- Hals, Malle Babbe
- Frans Hals, The Women Regents
- Willem Claesz. Heda, Still Life with Glasses and Tobacco
- Rembrandt, The Artist in His Studio
- Rembrandt, The Anatomy Lesson of Dr. Tulp
- Rembrandt, The Anatomy Lesson of Dr. Tulp
- Rembrandt, The Night Watch
- Rembrandt, The Night Watch
- Rembrandt, Self-Portrait with Saskia
- Rembrandt, Girl at a Window
- Rembrandt, Aristotle with a Bust of Homer
- Rembrandt, Aristotle with a Bust of Homer
- Rembrandt, Christ Crucified between the Two Thieves: The Three Crosses.
- Rembrandt, Bathsheba at her Bath
- Rembrandt, Abraham Francen
- Rembrandt, Self-Portrait
- Rembrandt, Self-Portrait with Two Circles
- Rembrandt, The Jewish Bride
- Rembrandt, Christ Preaching (Hundred Guilder Print)
- Is it a genuine Rembrandt?
- Judith Leyster, The Proposition
- Judith Leyster, Self-Portrait
- Early Dutch Torah Finials
- Michaelina Wautier, The Five Senses
- Willem Kalf, Still Life with a Silver Ewer
- Gerrit Dou, A Woman Playing a Clavichord
- Vermeer, The Glass of Wine
- Vermeer, Young Woman with a Water Pitcher
- Johannes Vermeer, Woman Holding a Balance
- Vermeer, Woman Holding a Balance
- Johannes Vermeer, Girl with a Pearl Earring
- Johannes Vermeer, The Art of Painting
- Jan Steen, Feast of St. Nicholas
- Ruisdael, View of Haarlem with Bleaching Grounds
- Jacob van Ruisdael, The Jewish Cemetery
- Andries Beeckman, The Castle of Batavia and Dutch colonialism
- Frans Post, Landscape with Ruins in Olinda
- Rachel Ruysch, Fruit and Insects
- Ruysch, Flower Still-Life
- Van Huysum, Vase with Flowers
- Conserving van Walscapelle's Flowers in a Glass Vase
- The Great Atlas, Dutch edition
- The Town Hall of Amsterdam
- Huis ten Bosch (House in the Woods)
- 17th century Delftware
- Baroque art in Holland
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Anthony van Dyck, Self-Portrait as Icarus with Daedalus
Anthony van Dyck, Self-Portrait as Icarus with Daedalus, c. 1618, oil on canvas, 112.4 x 93 cm (promised gift of Rose-Marie and Eijk van Otterloo, in support of the Center for Netherlandish Art, Museum of Fine Arts, Boston)
Speakers: Dr. Christopher Atkins, Van Otterloo-Weatherbie Director, Center for Netherlandish Art, Museum of Fine Arts, Boston and Dr. Steven Zucker. Created by Smarthistory.
Video transcript
(jazzy piano music) - [Steven] We're in the Conservation Lab in the Museum of Fine Arts in Boston looking at Anthony van Dyck's
"Self-Portrait as Icarus." Ovid tells us that Daedalus, who was a famous Athenian architect, had been hired by the king of Crete to design a labyrinth, that is a maze, and the king imprisoned
Daedalus and his son, Icarus. And in order to escape,
Daedalus fashions large wings held together with beeswax. And what we're seeing here
is the older man tying a wing to his son's shoulder. - [Christopher] And there's
a moment of intimacy. Icarus places his hand on Daedalus' head while Daedalus loops the
tie around Icarus' body. - [Steven] What happens in the story is that Icarus ignores
the father's caution: Don't fly too low or the moisture of the
sea will undo the wings, and don't fly too high because
the sun will melt them. But Icarus will fly too high. He will fly too close to the sun. The beeswax does melt. The feathers loosen and he
falls and drowns in the sea. - [Christopher] And interestingly, van Dyck depicts himself as Icarus. - [Steven] With an
expression that does not seem as if he's following his father's advice. - [Christopher] There's an
impishness to Icarus' face here. He's not looking at his father. - [Steven] As if Icarus is in the process of making the decision
to disobey his father, to do what he wants to do,
a kind of impulsiveness and a kind of pleasure
in developing this plan. - [Christopher] That idea of contemplation is also emphasized by the
highlight on the forehead, which makes us get into
the head of Icarus, how he's feeling about
this moment of empowerment, of transition, of his
relationship to his father, who's provided him with this gift, and what he's going to do with it. - [Steven] The artist is so
young when he paints this, showing extraordinary facility with paint. - [Christopher] Van Dyck
was a phenomenal painter, even from an early age. He really was a child prodigy. And as we move around the canvas, the blue cloth at the bottom
is filled with passages of just absolutely bravura brushstrokes. Or if we look at the hair of Icarus, with these amazing curls, the artist is able to, with the brush, give the lightest of
touches in an animated way that make these passages
pop off the canvas. - [Steven] And the very
difficult handling of a face that is foreshortened, that
is seen at a bit of an angle. - [Christopher] As a self-portrait, an artist has to look in a mirror, but to get this particular position, we can imagine how van
Dyck lowered his head while looking off to
the side to the mirror to try and make sure that he
captured the specific details that render his face to be unique. - [Steven] This is a painting
of an ancient Greek myth, but we're not reaching much
to also understand this as illustrative of the artist's own life, of his own relationship with his father or an important father figure in his life. - [Christopher] And van Dyck
had a complicated relationship with his family. And this moment in
particular, he's a young man, not only about to embark
on his artistic career, but to embark on his own life as an adult, and that requires a
separation from his father, which is at the core of this myth. - [Steven] But van Dyck has,
in a sense, two fathers. He's got a biological father, who he separated from, in a legal sense, not long before this painting was made. - [Christopher] He also
is separating himself from his teacher, Peter Paul Rubens, the great Flemish Baroque
painter who had taught him much and was the major
artistic figure in Antwerp and would be one of the
leading artistic personalities across Europe in the early 17th century. - [Christopher] But van
Dyck, the young painter, was deeply indebted to Rubens. Rubens was providing the crucial platform for the young artist to launch his career. - [Christopher] Through his
work with Rubens, he learned not only how to paint the
style that was in vogue, how to create engaging dynamic narratives, how to work the paint and the brush in such brilliant fashion, but also, the ways to succeed as
a painter in business. But it was complicated because Rubens dominated
the local market, so then, as an aspiring professional
in his own right, where is his opportunity? Where can he apply all
those things that he learned to be a success going forward? - [Steven] And in fact, van
Dyck would leave for England, where he would begin to make
his mark working for James I, the king of England, and
ultimately, James' son, Charles I. - [Christopher] He later works in Italy. He goes back to England. He is constantly searching for open markets, open opportunities. - [Steven] There is ambition here. This is a story about ambition. - [Christopher] It's an
ambitious choice of subject, especially if we think back to Pieter Bruegel the Elder's painting of the fall of Icarus. - [Steven] In the earlier Bruegel, it's possible to look
at the painting quickly and not even see Icarus. He is a relatively small figure that is just falling into the sea. That earlier painting shows
us this expansive landscape, the man plowing in the
foreground is much more evident. Here, everything has been reversed. There is almost no landscape at all. The focus is entirely on the figures and their relationship to each other. - [Christopher] It's a
tale of father and son which is not in the Bruegel,
and so it's not a stretch to think about how van Dyck
was intentionally returning to a famed subject and picturing it in an entirely different way. Van Dyck exhibits a tremendous amount of self-awareness in this picture, not only in his technical brilliance, but his picturing himself
as a central character in this painting. He is showing us that he
is thinking about himself and his role as an
artist and what he can do and where he wants to go as an artist. But not just thinking about it, but recording those thoughts in the form of a large-scale painting. (jazzy piano music)