1 00:00:01,360 --> 00:00:04,280 Speaker 1: Welcome to Stuff You Missed in History Class, a production 2 00:00:04,400 --> 00:00:14,920 Speaker 1: of iHeartRadio. Hello, and welcome to the podcast. I'm Holly Frye. 3 00:00:14,520 --> 00:00:17,640 Speaker 2: And I'm Tracy V. Wilson. So we haven't had an 4 00:00:17,760 --> 00:00:19,919 Speaker 2: art episode in a minute, so I was having a 5 00:00:20,200 --> 00:00:23,280 Speaker 2: jones about it. Yeah, when I first read this outline 6 00:00:23,280 --> 00:00:24,880 Speaker 2: and it said that, I was like, haven't we And 7 00:00:24,880 --> 00:00:27,720 Speaker 2: then I went, oh, no, we really haven't. I always 8 00:00:27,760 --> 00:00:31,000 Speaker 2: feel guilty because I'll sometimes do a couple clumped together 9 00:00:31,080 --> 00:00:34,080 Speaker 2: and then I'm like, I shouldn't only talk about artists, 10 00:00:35,240 --> 00:00:36,760 Speaker 2: and then I will shy away from them for a 11 00:00:36,800 --> 00:00:38,680 Speaker 2: little while. But it's been on minutes, so I feel 12 00:00:38,720 --> 00:00:41,159 Speaker 2: okay about it. So today we are going to talk 13 00:00:41,159 --> 00:00:44,879 Speaker 2: about Anthony van Dyck, and right out of the gate, 14 00:00:44,920 --> 00:00:46,480 Speaker 2: I feel like we have to talk about his name 15 00:00:46,520 --> 00:00:50,240 Speaker 2: because you'll see it written a million different ways. There 16 00:00:50,320 --> 00:00:58,400 Speaker 2: is a reason for that, and also pronounced right slightly differently. 17 00:00:58,680 --> 00:01:02,480 Speaker 1: I feel like I looked at him million videos of 18 00:01:02,680 --> 00:01:06,320 Speaker 1: like art curators and art historians, and they all kind 19 00:01:06,319 --> 00:01:12,360 Speaker 1: of default to the anglicized Anthony van Dyke. But you'll 20 00:01:12,360 --> 00:01:14,600 Speaker 1: see like van Dyke written with a J in it 21 00:01:15,040 --> 00:01:21,080 Speaker 1: or with a W in it in a very Italian style, 22 00:01:21,200 --> 00:01:25,120 Speaker 1: where it's Antonio written Italian style spelling, and then Van 23 00:01:25,200 --> 00:01:29,480 Speaker 1: Dyke is one word run together with no differential of 24 00:01:29,600 --> 00:01:32,720 Speaker 1: capital letters to separate Van and Dyke. It's like one 25 00:01:32,720 --> 00:01:38,480 Speaker 1: big thing, even Van Dyke with a B, etc. There 26 00:01:38,480 --> 00:01:39,920 Speaker 1: are a lot of different ways, and the reason is 27 00:01:39,959 --> 00:01:42,040 Speaker 1: he moved around a lot, and he didn't seem especially 28 00:01:42,120 --> 00:01:44,600 Speaker 1: hung up on there's one correct way to do my name. 29 00:01:45,120 --> 00:01:48,520 Speaker 1: Even when he got accolades in various countries, he would 30 00:01:48,560 --> 00:01:51,040 Speaker 1: be like, no, just do it this way, which I 31 00:01:51,080 --> 00:01:54,280 Speaker 1: find really really interesting about him. I also feel like 32 00:01:54,360 --> 00:01:56,840 Speaker 1: we should mention we'll talk about the names of his 33 00:01:57,000 --> 00:02:00,400 Speaker 1: paintings in this but these are names that the most 34 00:02:00,440 --> 00:02:03,840 Speaker 1: part were attributed well after he made them, and sometimes 35 00:02:03,840 --> 00:02:08,160 Speaker 1: they're just a way that various art historians have identified 36 00:02:08,160 --> 00:02:11,400 Speaker 1: the painting, usually by the contents of the painting. He 37 00:02:11,480 --> 00:02:13,880 Speaker 1: wasn't out there, to the best of our knowledge, giving 38 00:02:13,919 --> 00:02:17,600 Speaker 1: them any kind of naming convention that we're not privy to. 39 00:02:19,400 --> 00:02:21,720 Speaker 1: I really really like his work, and so he's been 40 00:02:21,720 --> 00:02:24,480 Speaker 1: on my list for a long time. I think he's 41 00:02:24,520 --> 00:02:27,120 Speaker 1: a genius and I love him, and I also just 42 00:02:27,160 --> 00:02:31,320 Speaker 1: think he's an interesting guy because he seems kind of 43 00:02:31,400 --> 00:02:35,240 Speaker 1: relaxed in some ways, and he's tied to a lot 44 00:02:35,240 --> 00:02:38,040 Speaker 1: of interesting things in art history, so that's what you 45 00:02:38,080 --> 00:02:38,680 Speaker 1: get today. 46 00:02:39,600 --> 00:02:42,359 Speaker 2: We'll start, of course, at the beginning. Anthony van Dyke 47 00:02:42,520 --> 00:02:46,120 Speaker 2: was born on March twenty second, fifteen ninety nine, in Antwerp. 48 00:02:46,880 --> 00:02:50,040 Speaker 2: At the time, Antwerp was part of the Spanish Netherlands. 49 00:02:50,320 --> 00:02:53,440 Speaker 2: His father, Franz, was a successful silk merchant, and his mother, 50 00:02:53,680 --> 00:02:58,000 Speaker 2: Maria Kuiper's, was Franz's second wife. There were a dozen 51 00:02:58,160 --> 00:03:01,560 Speaker 2: children in this family. Anthony was the seventh of them. 52 00:03:01,960 --> 00:03:06,200 Speaker 2: The family lived on Growth Market, which is Antwerp's central square, 53 00:03:06,360 --> 00:03:09,600 Speaker 2: until they moved to a bigger house in sixteen oh seven. 54 00:03:10,639 --> 00:03:13,000 Speaker 1: But just a few weeks after they made that move 55 00:03:13,080 --> 00:03:16,600 Speaker 1: to their bigger house, his mother Maria died, and from 56 00:03:16,680 --> 00:03:19,919 Speaker 1: that moment that privileged, comfortable life that the Van Dykes 57 00:03:19,919 --> 00:03:24,320 Speaker 1: had enjoyed kind of began to unravel. Franz, his father, 58 00:03:24,440 --> 00:03:27,120 Speaker 1: did not remarry, though he did have other relationships, and 59 00:03:27,160 --> 00:03:29,880 Speaker 1: it seems as though without a mother to care for 60 00:03:29,960 --> 00:03:32,680 Speaker 1: them full time, the kids were left largely to their 61 00:03:32,680 --> 00:03:37,600 Speaker 1: own devices. Simultaneously, Franz started to really struggle with the 62 00:03:37,600 --> 00:03:40,600 Speaker 1: business side of his life as well as his personal life. 63 00:03:41,120 --> 00:03:44,120 Speaker 2: When Anthony was ten, he started to formally study painting 64 00:03:44,320 --> 00:03:48,200 Speaker 2: under Hendrik von Balin at the Antwerp Artist Guild. He 65 00:03:48,240 --> 00:03:51,120 Speaker 2: didn't stay with Van Balen for very long, though, and 66 00:03:51,160 --> 00:03:55,760 Speaker 2: it's not clear when their teaching arrangement ended. The oldest 67 00:03:55,840 --> 00:03:59,560 Speaker 2: surviving Van Dyke painting was made when the artist was 68 00:03:59,600 --> 00:04:03,520 Speaker 2: only four team in sixteen thirteen. This is sometimes called 69 00:04:03,600 --> 00:04:07,840 Speaker 2: portrait of a man, or the slightly more descriptive portrait 70 00:04:07,920 --> 00:04:12,520 Speaker 2: of an old man, sometimes portrait of an unknown seventy 71 00:04:12,640 --> 00:04:16,000 Speaker 2: year old man. This is a bust up rendering of 72 00:04:16,040 --> 00:04:20,400 Speaker 2: a man in a stiff Elizabethan style rough collar. He 73 00:04:20,520 --> 00:04:24,600 Speaker 2: has a robust white mustache and appointed goateee. Today this 74 00:04:24,640 --> 00:04:26,560 Speaker 2: is part of the Royal Museum of Fine Arts of 75 00:04:26,600 --> 00:04:29,919 Speaker 2: Belgium's collection, and it serves as an early example of 76 00:04:29,960 --> 00:04:33,920 Speaker 2: the way Van Dyke's career trajectory always seemed to be 77 00:04:34,000 --> 00:04:37,799 Speaker 2: destined for portraits, although that was not the only style 78 00:04:37,839 --> 00:04:39,400 Speaker 2: of painting he was interested in. 79 00:04:40,320 --> 00:04:44,039 Speaker 1: At the age of fifteen or possibly sixteen, Anthony painted 80 00:04:44,120 --> 00:04:47,520 Speaker 1: a self portrait. This is once again a bust and 81 00:04:47,640 --> 00:04:50,360 Speaker 1: head image, with the artist seen from the side and 82 00:04:50,400 --> 00:04:53,359 Speaker 1: his head is turned to face the viewer. It is 83 00:04:53,440 --> 00:04:58,320 Speaker 1: overall a dark composition. He has reddish, curly hair, his 84 00:04:58,400 --> 00:05:01,719 Speaker 1: face is very pale and tinged pink, and his reddish 85 00:05:01,720 --> 00:05:06,040 Speaker 1: lips foremost very sharp contrast to the background. In his clothes, 86 00:05:06,560 --> 00:05:09,480 Speaker 1: there's also a line of white that peeks out above 87 00:05:09,520 --> 00:05:12,719 Speaker 1: his collar. It's his undershirt, but that line of white 88 00:05:12,720 --> 00:05:16,279 Speaker 1: creates this sort of diagonal bisecting of the overall piece. 89 00:05:17,080 --> 00:05:19,640 Speaker 2: At this point, Van Dyke appears to have left the 90 00:05:19,680 --> 00:05:24,160 Speaker 2: tutelage of Van Balen and was working as an independent artist. 91 00:05:24,560 --> 00:05:28,719 Speaker 2: But that's odd. Per the guild rules of Antwerp, he 92 00:05:28,800 --> 00:05:31,440 Speaker 2: should not have been able to establish himself as a 93 00:05:31,480 --> 00:05:36,680 Speaker 2: professional artist before being granted membership in that guild. He 94 00:05:36,839 --> 00:05:40,000 Speaker 2: was too young to do that at this point. He 95 00:05:40,080 --> 00:05:43,080 Speaker 2: didn't become a member of the guild until sixteen eighteen. 96 00:05:43,320 --> 00:05:45,480 Speaker 2: That is also the year that Van Dyke began to 97 00:05:45,480 --> 00:05:49,120 Speaker 2: study under Peter Paul Rubens, and at this time Rubens 98 00:05:49,160 --> 00:05:51,520 Speaker 2: was forty one and he had gained a reputation as 99 00:05:51,560 --> 00:05:56,000 Speaker 2: one of Antwerp's best artists. This association would link the 100 00:05:56,040 --> 00:06:00,880 Speaker 2: two men forever Historically, in sixteen seventy two, Giovanni Pietro 101 00:06:00,960 --> 00:06:06,080 Speaker 2: Bellori published the work Levite di petori sculptori at architeti 102 00:06:06,160 --> 00:06:08,880 Speaker 2: Moderni Those are the Lives of the modern painters, sculptors 103 00:06:08,880 --> 00:06:12,360 Speaker 2: and Architects, And in this work he described the two 104 00:06:12,400 --> 00:06:16,040 Speaker 2: men meeting in a rather romanticized way, saying that Van 105 00:06:16,120 --> 00:06:19,039 Speaker 2: Dyke just sort of showed up at Peter Paul Rubin's 106 00:06:19,080 --> 00:06:22,560 Speaker 2: school as a quote young man possessed of such noble 107 00:06:22,640 --> 00:06:25,640 Speaker 2: generosity of manners and so fine a talent for painting 108 00:06:26,640 --> 00:06:28,360 Speaker 2: that then it goes on to say that, of course 109 00:06:28,440 --> 00:06:31,400 Speaker 2: Rubens recognized that having this young man as a student 110 00:06:31,680 --> 00:06:36,120 Speaker 2: was going to bring honor to his school. But that's 111 00:06:36,160 --> 00:06:39,440 Speaker 2: really a speculative take on this meeting. We don't know 112 00:06:39,560 --> 00:06:42,000 Speaker 2: much at all in the way of specifics about the 113 00:06:42,040 --> 00:06:46,800 Speaker 2: earliest associations of these two men. Art historian Christopher White's 114 00:06:46,800 --> 00:06:50,640 Speaker 2: twenty twenty one biography of Van dyke speculates that although 115 00:06:50,720 --> 00:06:54,880 Speaker 2: Rubens and Van Dyke were very different personalities, Rubens may 116 00:06:54,880 --> 00:06:58,680 Speaker 2: have recognized some similarities in their backgrounds and their turbulent 117 00:06:58,760 --> 00:07:02,160 Speaker 2: family lives, and that may have been part of him 118 00:07:02,279 --> 00:07:05,920 Speaker 2: deciding to become a mentor. We truly don't. 119 00:07:05,680 --> 00:07:09,520 Speaker 1: Know, though, but Van Dyke, we do know, became not 120 00:07:09,600 --> 00:07:13,040 Speaker 1: only a student of Rubens but also an assistant, giving 121 00:07:13,120 --> 00:07:16,520 Speaker 1: up his independent career status to do so, and at 122 00:07:16,520 --> 00:07:19,320 Speaker 1: some point he started living with Rubens, although the exact 123 00:07:19,400 --> 00:07:22,880 Speaker 1: date that happened is unknown, He's mentioned as being there 124 00:07:22,920 --> 00:07:25,600 Speaker 1: and working on pieces with the master in letters and 125 00:07:25,640 --> 00:07:29,240 Speaker 1: notes of various people in sixteen twenty. We're going to 126 00:07:29,280 --> 00:07:32,680 Speaker 1: talk more about the nature of their friendship and relationship 127 00:07:32,720 --> 00:07:34,960 Speaker 1: in a bit, but this living situation, to be clear, 128 00:07:35,080 --> 00:07:38,200 Speaker 1: was not indicative of anything in particular other than that 129 00:07:38,280 --> 00:07:41,320 Speaker 1: Van Dyke was working closely with the senior artist. It 130 00:07:41,360 --> 00:07:42,520 Speaker 1: would not have been. 131 00:07:42,480 --> 00:07:45,960 Speaker 2: Uncommon for an assistant to do so and move in. 132 00:07:45,960 --> 00:07:48,760 Speaker 2: In the early years of his professional career, Van Dyke 133 00:07:48,800 --> 00:07:53,000 Speaker 2: painted a lot of portraits of Belgian aristocracy. Most of 134 00:07:53,040 --> 00:07:55,800 Speaker 2: these portraits are from the bust up, although some go 135 00:07:55,920 --> 00:07:58,840 Speaker 2: down to the knees. The poses all tend to be 136 00:07:58,840 --> 00:08:02,080 Speaker 2: pretty similar, with the subject holding some kind of accessory. 137 00:08:02,840 --> 00:08:06,600 Speaker 2: It quickly became apparent that he was incredibly skilled in 138 00:08:06,680 --> 00:08:10,960 Speaker 2: painting fabrics. Sometime in sixteen eighteen or sixteen nineteen he 139 00:08:11,040 --> 00:08:14,680 Speaker 2: painted portrait of a man drawing on his glove and 140 00:08:15,000 --> 00:08:18,640 Speaker 2: a married couple, both of them echo paintings by sixteenth 141 00:08:18,680 --> 00:08:20,400 Speaker 2: century Flemish artists. 142 00:08:20,680 --> 00:08:24,320 Speaker 1: Yeah, there have been some really interesting studies that modern 143 00:08:24,400 --> 00:08:28,040 Speaker 1: historians have done where they have found very similarly posed 144 00:08:28,600 --> 00:08:31,720 Speaker 1: paintings of other people that previous artists had done. So 145 00:08:31,840 --> 00:08:34,640 Speaker 1: Van Dyke was clearly like using his knowledge and his 146 00:08:34,679 --> 00:08:36,920 Speaker 1: study of art to inform the way he was working. 147 00:08:38,120 --> 00:08:40,760 Speaker 1: He was not only working in portraiture, though he also 148 00:08:40,800 --> 00:08:45,120 Speaker 1: painted historical subjects. He also created works that blended historical 149 00:08:45,120 --> 00:08:49,280 Speaker 1: figures or thebes with imagery of contemporary models. That's a 150 00:08:49,320 --> 00:08:52,080 Speaker 1: practice that was very popular at the time. And within 151 00:08:52,160 --> 00:08:55,120 Speaker 1: these works, his depictions of the people in the paintings 152 00:08:55,160 --> 00:08:59,440 Speaker 1: are always just incredibly detailed, like many portraits within the 153 00:08:59,440 --> 00:09:01,640 Speaker 1: Greater World work. So when we're talking about this, we're 154 00:09:01,640 --> 00:09:05,200 Speaker 1: saying like he would paint, you know, some important historical 155 00:09:05,320 --> 00:09:08,320 Speaker 1: or biblical scene, and people that were contemporaries of him 156 00:09:08,360 --> 00:09:12,280 Speaker 1: would be cast in roles in those pieces. An interesting 157 00:09:12,360 --> 00:09:15,040 Speaker 1: note is that he usually sketched out his religious and 158 00:09:15,120 --> 00:09:19,320 Speaker 1: historical paintings before actually putting brush to canvas, but he 159 00:09:19,440 --> 00:09:21,920 Speaker 1: did not usually do the same for portraits. 160 00:09:22,720 --> 00:09:26,199 Speaker 2: One of the interesting and also frustrating aspects of all 161 00:09:26,240 --> 00:09:28,920 Speaker 2: this early work is that while we know that most 162 00:09:28,960 --> 00:09:32,160 Speaker 2: of his works were commissions from the nobility of Antwerp, 163 00:09:32,760 --> 00:09:35,160 Speaker 2: we don't know who a lot of the people in 164 00:09:35,240 --> 00:09:39,040 Speaker 2: the paintings are. There's not a lot of notation or 165 00:09:39,080 --> 00:09:43,480 Speaker 2: surviving record keeping regarding these works. In some cases, art 166 00:09:43,559 --> 00:09:47,080 Speaker 2: historians have made sort of best guesses by piecing together 167 00:09:47,200 --> 00:09:51,040 Speaker 2: information that survived, but these it's just that it's educated guesses. 168 00:09:51,920 --> 00:09:56,000 Speaker 2: One that we do know is a portrait of Cornelius 169 00:09:56,120 --> 00:09:59,520 Speaker 2: Vandergeese that serves as a perfect example of how very 170 00:09:59,600 --> 00:10:03,800 Speaker 2: skill Van Dyke was even at an early age. The portrait, 171 00:10:03,880 --> 00:10:06,559 Speaker 2: which is almost a close up of the subject's face, 172 00:10:06,679 --> 00:10:10,320 Speaker 2: was created in sixteen nineteen or sixteen twenty, and the 173 00:10:10,520 --> 00:10:14,000 Speaker 2: eyes in particular are rendered with such skill that they 174 00:10:14,040 --> 00:10:17,160 Speaker 2: look almost like a photograph. Around the same time that 175 00:10:17,200 --> 00:10:20,080 Speaker 2: he painted it, in the summer of sixteen twenty, there's 176 00:10:20,280 --> 00:10:23,440 Speaker 2: mention of Van Dyke in a letter from Amsterdam to 177 00:10:23,600 --> 00:10:27,760 Speaker 2: the Duke of Arundel in London, praising him as being 178 00:10:27,960 --> 00:10:32,120 Speaker 2: almost as admired as Rubens, but lamenting that he seems 179 00:10:32,160 --> 00:10:33,920 Speaker 2: reluctant to leave Antwerp. 180 00:10:34,440 --> 00:10:37,200 Speaker 1: Yeah, London was very eager to try to get Van 181 00:10:37,320 --> 00:10:39,440 Speaker 1: Dyke to come and visit, and I will say that 182 00:10:39,640 --> 00:10:45,160 Speaker 1: painting that Tracy just described of Cornelius vander Geeste is 183 00:10:45,200 --> 00:10:47,920 Speaker 1: one of my very favorites. It is so striking and beautiful. 184 00:10:48,840 --> 00:10:51,240 Speaker 1: At the age of eighteen, Van Dyke undertook a work 185 00:10:51,320 --> 00:10:54,360 Speaker 1: that had nothing to do with his art. He filed 186 00:10:54,360 --> 00:10:58,840 Speaker 1: a lawsuit against his family. This is tied to his 187 00:10:58,920 --> 00:11:01,880 Speaker 1: father's personal struggle, and one of those struggles involved a 188 00:11:01,920 --> 00:11:04,120 Speaker 1: woman that he had been involved with who began to 189 00:11:04,400 --> 00:11:08,880 Speaker 1: very publicly argue with him and accuse him of wrongdoing. Basically, 190 00:11:08,960 --> 00:11:12,600 Speaker 1: she was in the street kind of yelling accusations. In 191 00:11:12,720 --> 00:11:16,920 Speaker 1: terms of available information, it's unclear what specifically those accusations were. 192 00:11:18,120 --> 00:11:20,280 Speaker 1: But because of all of this turmoil and like the 193 00:11:20,320 --> 00:11:24,280 Speaker 1: public embarrassment going on, Van Dyke's brothers in law filed 194 00:11:24,320 --> 00:11:27,439 Speaker 1: a motion with the court to be given control of 195 00:11:27,520 --> 00:11:30,520 Speaker 1: Franz van Dyke's finances because he was not doing a 196 00:11:30,559 --> 00:11:34,560 Speaker 1: good job of looking after the family's interests. Anthony filed 197 00:11:34,559 --> 00:11:36,920 Speaker 1: his own papers asking for the court to name a 198 00:11:37,000 --> 00:11:40,480 Speaker 1: separate appointee to handle Franz's money, as he did not 199 00:11:40,640 --> 00:11:42,960 Speaker 1: trust his brothers in law with it. Even though he 200 00:11:43,040 --> 00:11:45,880 Speaker 1: did recognize that his father really couldn't handle things. At 201 00:11:45,880 --> 00:11:49,120 Speaker 1: that point, the brothers in law did get control and 202 00:11:49,240 --> 00:11:51,760 Speaker 1: Anthony had to go to court again to get the 203 00:11:51,800 --> 00:11:54,320 Speaker 1: money that he and his younger siblings were owed by 204 00:11:54,360 --> 00:11:56,760 Speaker 1: those brothers in law, and it would appear that this 205 00:11:56,880 --> 00:12:00,480 Speaker 1: family situation went from strained to fairly terrible, at least 206 00:12:00,480 --> 00:12:04,040 Speaker 1: with his relations by marriage. Coming up, we'll talk about 207 00:12:04,120 --> 00:12:06,880 Speaker 1: Van Dyke's first trip to England, but first we will 208 00:12:06,920 --> 00:12:19,920 Speaker 1: have a sponsor break. In November sixteen twenty Van Dyke 209 00:12:19,960 --> 00:12:22,880 Speaker 1: traveled to England for the first time, and it's believed 210 00:12:22,880 --> 00:12:25,000 Speaker 1: that he was persuaded to do so by one or 211 00:12:25,040 --> 00:12:27,600 Speaker 1: more art collectors there. As I mentioned earlier, they were 212 00:12:27,679 --> 00:12:31,160 Speaker 1: eager to get him to England. There he was commissioned 213 00:12:31,160 --> 00:12:34,240 Speaker 1: as a painter by King James the First, reportedly at 214 00:12:34,280 --> 00:12:37,280 Speaker 1: a rate of one hundred pounds per year, but he 215 00:12:37,320 --> 00:12:40,360 Speaker 1: didn't stay an entire year. He didn't stay even half 216 00:12:40,360 --> 00:12:43,520 Speaker 1: a year. He left after four months in February of 217 00:12:43,559 --> 00:12:47,040 Speaker 1: sixteen twenty one. He only painted a few works during 218 00:12:47,040 --> 00:12:50,400 Speaker 1: his time in London, including a historical portrait of the 219 00:12:50,480 --> 00:12:54,720 Speaker 1: Duke and Duchess of Buckingham as Venus and Adonis, another 220 00:12:54,840 --> 00:12:57,280 Speaker 1: and perhaps more important was a portrait of the Earl 221 00:12:57,320 --> 00:13:01,319 Speaker 1: of Arundel. This is very much the style of Van 222 00:13:01,400 --> 00:13:04,880 Speaker 1: Dyke's other portraits in the very real looking face and clothing. 223 00:13:05,360 --> 00:13:08,240 Speaker 1: The Earl is seated and shown from chair level up, 224 00:13:08,640 --> 00:13:11,160 Speaker 1: and the natural look of the subject was a significant 225 00:13:11,200 --> 00:13:13,880 Speaker 1: departure from the portraits that were popular in England at 226 00:13:13,880 --> 00:13:17,080 Speaker 1: the time. Those tended to look a little more rigid 227 00:13:17,120 --> 00:13:20,360 Speaker 1: and very formal. They were filled with opulent details, and 228 00:13:20,400 --> 00:13:23,640 Speaker 1: they featured figures who looked just slightly surreal. These are 229 00:13:23,640 --> 00:13:26,560 Speaker 1: the traits associated with English mannerism. If you look up 230 00:13:26,559 --> 00:13:28,960 Speaker 1: English mannerism and then you look at a Van Dyke portrait, 231 00:13:29,000 --> 00:13:31,120 Speaker 1: you can see where he was like the odd man 232 00:13:31,200 --> 00:13:33,400 Speaker 1: out of what was going on at the time. This 233 00:13:33,559 --> 00:13:36,080 Speaker 1: was the very beginning of a shift in portraiture that 234 00:13:36,160 --> 00:13:38,480 Speaker 1: had begun with Rubens when he painted the work the 235 00:13:38,520 --> 00:13:41,960 Speaker 1: Countess of Arundel and her Retinue, and it really started 236 00:13:42,000 --> 00:13:45,520 Speaker 1: to crystallize with Van Dyke. England was ready for a 237 00:13:45,640 --> 00:13:48,960 Speaker 1: change in style, and the Baroque painters of Antwerp offered 238 00:13:48,960 --> 00:13:52,080 Speaker 1: something fresh and very appealing to the art collectors there. 239 00:13:52,720 --> 00:13:54,959 Speaker 1: So when he left England far sooner than he was 240 00:13:55,040 --> 00:13:58,120 Speaker 1: expected to. There was an understanding with the royal court 241 00:13:58,400 --> 00:14:01,240 Speaker 1: that he would return in roughly eight months to make 242 00:14:01,280 --> 00:14:04,040 Speaker 1: more paintings that didn't exactly happen. 243 00:14:04,840 --> 00:14:08,120 Speaker 2: Upon returning to Belgium, Van Dyke once again painted a 244 00:14:08,200 --> 00:14:11,000 Speaker 2: number of portraits there, and this time we do know 245 00:14:11,080 --> 00:14:15,560 Speaker 2: more about the sitters. A seated image of Nicholas Forcox, 246 00:14:15,640 --> 00:14:19,200 Speaker 2: the mayor of Antwerp, shows the subject seated adjacent to 247 00:14:19,240 --> 00:14:22,480 Speaker 2: a table on which the busts of Hercules and Zeus 248 00:14:22,600 --> 00:14:25,680 Speaker 2: are featured, as well as books by Plato and Seneca. 249 00:14:26,520 --> 00:14:30,160 Speaker 2: Once again, the realistic appearance of the face the natural 250 00:14:30,240 --> 00:14:33,440 Speaker 2: expression that had become trademarks of Van Dyke's work are 251 00:14:33,440 --> 00:14:36,960 Speaker 2: present so too in a set of seated portraits of 252 00:14:37,200 --> 00:14:41,360 Speaker 2: fellow painter Franz Senyders and his wife Margaretta de Vous. 253 00:14:42,040 --> 00:14:45,400 Speaker 2: In his portraits Susannah Foormont and her daughter of Clara 254 00:14:45,440 --> 00:14:49,960 Speaker 2: del Monte and Isabella Brandt, red and gold tones joined 255 00:14:50,000 --> 00:14:53,000 Speaker 2: his usual palette of more somber tones to add a 256 00:14:53,080 --> 00:14:56,880 Speaker 2: level of liveliness that's pretty striking. This is not the 257 00:14:56,880 --> 00:15:00,000 Speaker 2: first time that he used red and gold They appe 258 00:15:00,080 --> 00:15:03,360 Speaker 2: heard in the Racox portrait as well, but it's more 259 00:15:03,400 --> 00:15:06,400 Speaker 2: prominent in those pieces. In both of these paintings, the 260 00:15:06,440 --> 00:15:09,760 Speaker 2: subjects all have a look of sort of restrained humor 261 00:15:09,880 --> 00:15:13,440 Speaker 2: about them. Both of the women and the child depicted 262 00:15:13,520 --> 00:15:17,240 Speaker 2: look as though they are about to break into a smile. Yeah, 263 00:15:17,240 --> 00:15:22,520 Speaker 2: they're quite charming. I highly encourage anybody to look at them. 264 00:15:22,680 --> 00:15:25,640 Speaker 2: He also eventually became really well known for painting children, 265 00:15:25,680 --> 00:15:29,160 Speaker 2: and he's quite good at that kind of quizzical always 266 00:15:29,160 --> 00:15:32,400 Speaker 2: on the verge of a giggle expression. In October sixteen 267 00:15:32,440 --> 00:15:35,160 Speaker 2: twenty one, Van Dyke made his way to Italy, arriving 268 00:15:35,200 --> 00:15:39,160 Speaker 2: first in Genoa with introductions from Rubens. He had a 269 00:15:39,160 --> 00:15:41,760 Speaker 2: group of patrons essentially waiting for him there, so he 270 00:15:41,840 --> 00:15:43,560 Speaker 2: was able to make money right out of the gate, 271 00:15:44,320 --> 00:15:46,160 Speaker 2: and this was the start of a trip that led 272 00:15:46,160 --> 00:15:49,280 Speaker 2: to a great deal of artistic growth, partially because of 273 00:15:49,320 --> 00:15:53,120 Speaker 2: the timing being out of his period of apprenticeship, and 274 00:15:53,200 --> 00:15:56,400 Speaker 2: also because he was suddenly exposed to a very vibrant 275 00:15:56,480 --> 00:15:59,200 Speaker 2: art scene where a lot of different styles were in 276 00:15:59,240 --> 00:16:01,560 Speaker 2: play at the same time time, Plus, there was just 277 00:16:01,600 --> 00:16:04,400 Speaker 2: a lot of existing art in museums as well as 278 00:16:04,480 --> 00:16:07,640 Speaker 2: churches to study. This is also a period where Van 279 00:16:07,720 --> 00:16:11,000 Speaker 2: Dyke made several self portraits, at least one has been 280 00:16:11,040 --> 00:16:15,280 Speaker 2: determined to be a repaint over an unfinished commission. All 281 00:16:15,320 --> 00:16:17,600 Speaker 2: of them, if you just look at his self portraits, 282 00:16:17,880 --> 00:16:20,640 Speaker 2: show his growth as an artist and the fine shifts 283 00:16:20,640 --> 00:16:23,680 Speaker 2: in his technique that led to even greater mastery of 284 00:16:23,720 --> 00:16:27,160 Speaker 2: showing the subject as a living, a motive entity. He 285 00:16:27,240 --> 00:16:29,760 Speaker 2: became really well known for just kind of these natural 286 00:16:29,800 --> 00:16:33,920 Speaker 2: looking depictions. One thing that jumps out looking at these paintings, though, 287 00:16:34,120 --> 00:16:36,760 Speaker 2: is what a baby face he still was. He was 288 00:16:36,800 --> 00:16:39,400 Speaker 2: still in his very early twenties, and while he was 289 00:16:39,440 --> 00:16:42,720 Speaker 2: clearly a master of his work, he felt like he 290 00:16:42,800 --> 00:16:45,760 Speaker 2: still had plenty left to learn. Anthony van Dyke was 291 00:16:45,840 --> 00:16:48,600 Speaker 2: constantly on the go in Italy, and this period of 292 00:16:48,600 --> 00:16:51,120 Speaker 2: his life is hard to track in terms of when 293 00:16:51,280 --> 00:16:54,480 Speaker 2: he was ware. Genoa was sort of like a home 294 00:16:54,520 --> 00:16:57,360 Speaker 2: base that he would return to over and over, but 295 00:16:57,440 --> 00:17:01,000 Speaker 2: he was routinely making trips to other cities throughout his 296 00:17:01,080 --> 00:17:03,440 Speaker 2: time in Italy, and that he took advantage of the 297 00:17:03,520 --> 00:17:07,760 Speaker 2: available art there to continue his studies. He made sketches 298 00:17:07,800 --> 00:17:10,760 Speaker 2: of a lot of the works of Italian masters in 299 00:17:10,800 --> 00:17:15,359 Speaker 2: which he recorded his reactions to and feelings about them. 300 00:17:15,760 --> 00:17:18,960 Speaker 2: One interesting shift that took place in Van Dyke's Italian 301 00:17:19,000 --> 00:17:22,560 Speaker 2: travels is that his portraits started to be more frequently 302 00:17:22,720 --> 00:17:26,639 Speaker 2: full body portraits instead of busts or knees up. He 303 00:17:26,720 --> 00:17:29,400 Speaker 2: had painted some full body portraits before this, but those 304 00:17:29,440 --> 00:17:33,160 Speaker 2: were outliers. He also started posing his subjects a little 305 00:17:33,160 --> 00:17:36,720 Speaker 2: bit differently during this time. Often they're facing away from 306 00:17:36,800 --> 00:17:40,320 Speaker 2: the viewer, with their gaze elsewhere, unlike his earlier straight 307 00:17:40,359 --> 00:17:44,960 Speaker 2: on perspective. His sixteen twenty two portrait of Agostino Pallaviccini, 308 00:17:45,119 --> 00:17:49,560 Speaker 2: the Doge of Genoa, shows this transition starting. The Doge 309 00:17:49,680 --> 00:17:52,160 Speaker 2: is seated, but his entire body is in the portrait, 310 00:17:52,320 --> 00:17:55,520 Speaker 2: draped in a dramatic red robe with very wide sleeves 311 00:17:55,560 --> 00:17:59,000 Speaker 2: signifying his connection to the pope, and a white rough collar. 312 00:18:00,080 --> 00:18:02,560 Speaker 2: This portrait still features the straight on gaze of the 313 00:18:02,600 --> 00:18:05,960 Speaker 2: subject's eyes, but his face has turned about one quarter 314 00:18:06,000 --> 00:18:10,200 Speaker 2: to the viewer's left. The motivations for Van Dyke's choices 315 00:18:10,440 --> 00:18:14,560 Speaker 2: in travels in Italy remains a bit unclear. Some biographies 316 00:18:14,600 --> 00:18:17,399 Speaker 2: indicate he was plotting a course of self study and 317 00:18:17,480 --> 00:18:20,280 Speaker 2: visiting places like Rome and Venice to take in the 318 00:18:20,440 --> 00:18:23,959 Speaker 2: art there as part of his education. Others suggest that 319 00:18:24,000 --> 00:18:28,280 Speaker 2: he had commissions waiting almost everywhere and was just moving 320 00:18:28,320 --> 00:18:32,000 Speaker 2: around following the financial opportunities that were thick in Italy. 321 00:18:33,240 --> 00:18:36,800 Speaker 2: Could have even been both while in Rome. In sixteen 322 00:18:36,840 --> 00:18:40,000 Speaker 2: twenty two, Van Dyke painted George Gage with Two Men, 323 00:18:40,600 --> 00:18:44,440 Speaker 2: an unusual portrait in its composition of the main subject 324 00:18:44,560 --> 00:18:48,800 Speaker 2: occupying the left two thirds of the canvas, seated, but 325 00:18:49,000 --> 00:18:52,080 Speaker 2: not in what looks like a static pose. His head 326 00:18:52,200 --> 00:18:54,239 Speaker 2: is turned to the right of the frame and he 327 00:18:54,320 --> 00:18:57,360 Speaker 2: looks like he's mid sentence with the two men, who 328 00:18:57,400 --> 00:19:00,840 Speaker 2: were noted in the title. The two supporting figures are 329 00:19:00,880 --> 00:19:04,320 Speaker 2: rendered beautifully, of course, but with less detail and in 330 00:19:04,480 --> 00:19:08,840 Speaker 2: darker hues than Gage is. This painting was made when Gage, 331 00:19:08,880 --> 00:19:11,160 Speaker 2: who was an English diplomat, was in Rome. 332 00:19:12,080 --> 00:19:14,720 Speaker 1: Another project in sixteen twenty two was a set of 333 00:19:14,760 --> 00:19:18,520 Speaker 1: portraits of Sir Robert Shirley and his wife Teresa. These 334 00:19:18,560 --> 00:19:23,240 Speaker 1: are fascinating portraits because of the clothing involved. Terrisia was 335 00:19:23,560 --> 00:19:27,240 Speaker 1: a Circassian and a noble. The pair had met when Shirley, 336 00:19:27,320 --> 00:19:30,760 Speaker 1: an adventurer, was in Persia, and after that trip he 337 00:19:30,800 --> 00:19:33,840 Speaker 1: took to wearing Persian dress and he acted as an 338 00:19:33,880 --> 00:19:37,320 Speaker 1: ambassador for the Shaw and it is in that style 339 00:19:37,440 --> 00:19:41,000 Speaker 1: that Robert and Terrasia were painted. In the husband's portrait, 340 00:19:41,040 --> 00:19:44,040 Speaker 1: he is standing full length. He is wearing a large turban. 341 00:19:44,760 --> 00:19:47,160 Speaker 1: One hand is resting on his sash, and the other 342 00:19:47,240 --> 00:19:50,199 Speaker 1: holds a bow with a quiver dangling from a strap 343 00:19:50,240 --> 00:19:53,240 Speaker 1: that he has in his hand. Lady Shirley is in 344 00:19:53,320 --> 00:19:58,760 Speaker 1: a really unique sort of relaxed kneeling pose. She's resting 345 00:19:58,800 --> 00:20:02,000 Speaker 1: on her folded legs, and her dress is this sumptuous 346 00:20:02,080 --> 00:20:05,000 Speaker 1: gold and ivory with embellishment and other colors that are 347 00:20:05,240 --> 00:20:07,520 Speaker 1: kind of these fine little accents to it. And she 348 00:20:07,560 --> 00:20:09,960 Speaker 1: has a huge veil that billows out around her, and 349 00:20:10,000 --> 00:20:15,159 Speaker 1: it's topped with an ostrich plume. These portraits were meticulously planned. 350 00:20:15,200 --> 00:20:19,119 Speaker 1: There are surviving sketches for these, and their composition evolved 351 00:20:19,119 --> 00:20:21,440 Speaker 1: from the initial plan to the finished pieces. 352 00:20:22,280 --> 00:20:25,320 Speaker 2: A couple of years into his Italy visit, Van Dyke 353 00:20:25,359 --> 00:20:29,160 Speaker 2: painted two paintings of the same man, Lucas van Uffled. 354 00:20:29,880 --> 00:20:32,840 Speaker 2: They're in some ways similar, with fun Uffull facing to 355 00:20:32,920 --> 00:20:35,439 Speaker 2: the right of the frame, even turned a little away 356 00:20:35,480 --> 00:20:38,440 Speaker 2: from the viewer, and he looks back over his right shoulder. 357 00:20:38,960 --> 00:20:41,359 Speaker 2: One looks as though he's settled in on his chair 358 00:20:41,480 --> 00:20:43,600 Speaker 2: and the other looks as though he's getting up or 359 00:20:43,760 --> 00:20:46,080 Speaker 2: bracing his hand on the arm of his chair to 360 00:20:46,119 --> 00:20:50,000 Speaker 2: hold his position. The face is really where the difference 361 00:20:50,040 --> 00:20:53,120 Speaker 2: is most apparent, though. In the seated image, in which 362 00:20:53,200 --> 00:20:56,359 Speaker 2: Vanuffel is backed by a large window, he looks placid, 363 00:20:56,520 --> 00:21:00,920 Speaker 2: almost bored or maybe questioning. In the second image, which 364 00:21:01,000 --> 00:21:04,720 Speaker 2: is in a darker interior before a desk, his expression 365 00:21:04,760 --> 00:21:07,800 Speaker 2: is harder to discern. His eyes are cut sharply to 366 00:21:07,920 --> 00:21:11,120 Speaker 2: his right to meet the viewer's gaze, and the look 367 00:21:11,160 --> 00:21:15,040 Speaker 2: on his face could be irritation or judgment, coupled with 368 00:21:15,119 --> 00:21:19,200 Speaker 2: what feels like the action of rising. The simple differences 369 00:21:19,200 --> 00:21:21,359 Speaker 2: and the second painting to the first make it feel 370 00:21:21,400 --> 00:21:24,760 Speaker 2: more dynamic. It's an interesting exercising comparison. 371 00:21:25,200 --> 00:21:28,120 Speaker 1: Yeah, they look so similar in many ways, but there 372 00:21:28,119 --> 00:21:31,479 Speaker 1: are just these very small tweaks that they become completely different. 373 00:21:32,359 --> 00:21:34,800 Speaker 1: One of the later pieces, created during the years that 374 00:21:34,920 --> 00:21:37,359 Speaker 1: Van Dyke was in Italy offers an example of something 375 00:21:37,400 --> 00:21:40,240 Speaker 1: he would become well known for, and I reference this earlier. 376 00:21:40,320 --> 00:21:43,880 Speaker 1: That's his portraits of children. In a painting that features 377 00:21:43,920 --> 00:21:47,120 Speaker 1: three young brothers called the Balbi Children, he shows three 378 00:21:47,440 --> 00:21:51,000 Speaker 1: cherum faced boys, all of whom obviously look related, but 379 00:21:51,080 --> 00:21:55,440 Speaker 1: who each showed their own unique personality. These are obviously 380 00:21:55,600 --> 00:21:59,400 Speaker 1: children from an aristocratic family. Their clothes are pretty formal, 381 00:21:59,440 --> 00:22:02,920 Speaker 1: they look very luxurious, and each outfit is very different, 382 00:22:03,000 --> 00:22:05,720 Speaker 1: though they are all in shades of red, gold, gray, 383 00:22:05,800 --> 00:22:06,359 Speaker 1: and black. 384 00:22:07,000 --> 00:22:10,119 Speaker 2: We noted that several of his clients in Italy were English, 385 00:22:10,280 --> 00:22:13,360 Speaker 2: and it's believed that some of them probably made invites 386 00:22:13,359 --> 00:22:15,479 Speaker 2: to try to get him back to London, but he 387 00:22:15,640 --> 00:22:19,040 Speaker 2: was not ready to go. Vandyke returned to Antwerp in 388 00:22:19,080 --> 00:22:21,480 Speaker 2: the summer of sixteen twenty seven and for the next 389 00:22:21,640 --> 00:22:26,080 Speaker 2: five years stayed very busy with portrait commissions There. He 390 00:22:26,119 --> 00:22:29,840 Speaker 2: eventually was appointed the court painter to arch Duchess Isabella. 391 00:22:30,720 --> 00:22:33,520 Speaker 2: One of his motivations for that return to Antwerp was 392 00:22:33,640 --> 00:22:37,800 Speaker 2: once again family issues. One of his sisters had died 393 00:22:37,920 --> 00:22:40,760 Speaker 2: and he once again brought a suit against his brothers 394 00:22:40,760 --> 00:22:43,600 Speaker 2: in law to regain the remainder of the family fortune. 395 00:22:44,080 --> 00:22:46,240 Speaker 2: To be clear, this was something he did not need. 396 00:22:46,359 --> 00:22:49,480 Speaker 2: He was financially very successful at this point. He lived 397 00:22:49,480 --> 00:22:52,280 Speaker 2: a very lavish life. You can find long descriptions of 398 00:22:52,320 --> 00:22:55,800 Speaker 2: how fancy his clothes were, but remember he came from 399 00:22:55,840 --> 00:22:58,359 Speaker 2: a big family and his siblings were going to lose 400 00:22:58,440 --> 00:23:01,800 Speaker 2: everything if he didn't intercede. We're about to talk about 401 00:23:01,800 --> 00:23:05,359 Speaker 2: what's often described as a cooling of the friendship between 402 00:23:05,440 --> 00:23:09,320 Speaker 2: Van Dyke and Rubens, although it's possible that that friendship 403 00:23:09,359 --> 00:23:12,560 Speaker 2: has been kind of misinterpreted over the centuries. We'll get 404 00:23:12,600 --> 00:23:14,880 Speaker 2: to it after we hear from the sponsors that keep 405 00:23:14,920 --> 00:23:28,400 Speaker 2: the show going. As Anthony reached his thirties, his relationship 406 00:23:28,440 --> 00:23:32,440 Speaker 2: with Rubens is described as having faltered, and the exact 407 00:23:32,560 --> 00:23:35,359 Speaker 2: cause for this cooling of their friendship is unknown. But 408 00:23:35,440 --> 00:23:38,120 Speaker 2: during the period that Van Dyke was in Antwerp following 409 00:23:38,119 --> 00:23:42,200 Speaker 2: his Italian trip, Rubens was often away. This is because, 410 00:23:42,200 --> 00:23:45,560 Speaker 2: in addition to being an artist, Rubens was also a diplomat, 411 00:23:45,640 --> 00:23:50,199 Speaker 2: and business dictated his frequent travels. It doesn't appear that 412 00:23:50,280 --> 00:23:53,480 Speaker 2: Rubens tried to stifle Van Dyke's career or anything that's 413 00:23:53,480 --> 00:23:57,359 Speaker 2: often something people theorize. Some of his clients did turn 414 00:23:57,440 --> 00:24:00,640 Speaker 2: to the younger artist when Rubens was unavailable for commissions, 415 00:24:00,680 --> 00:24:04,320 Speaker 2: but that doesn't seem to have been an issue. There 416 00:24:04,359 --> 00:24:07,280 Speaker 2: are plenty of other speculations about why these two men 417 00:24:07,359 --> 00:24:10,840 Speaker 2: fell out, and it seems like anyone who has studied 418 00:24:10,840 --> 00:24:14,479 Speaker 2: their work and their relationship has a different idea of 419 00:24:14,520 --> 00:24:19,000 Speaker 2: what happened. Popular theories include that Rubens became jealous of 420 00:24:19,040 --> 00:24:24,040 Speaker 2: his student, the possibility that Rubens sabotaged Van Dyke's career 421 00:24:24,119 --> 00:24:28,600 Speaker 2: by steering him to portraitures often written about at the time, 422 00:24:28,760 --> 00:24:32,359 Speaker 2: portraits were considered a commercial form of art, not like 423 00:24:32,800 --> 00:24:37,200 Speaker 2: art art, and Rubens did often pass portrait requests on 424 00:24:37,280 --> 00:24:40,240 Speaker 2: to his students while he focused on the more highly 425 00:24:40,280 --> 00:24:46,199 Speaker 2: regarded religious, historical, and allegorical areas of art. And some 426 00:24:46,400 --> 00:24:49,400 Speaker 2: of this confusion, once again pointed out by Christopher White, 427 00:24:49,400 --> 00:24:53,119 Speaker 2: who we referenced earlier, is because historians may have had 428 00:24:53,359 --> 00:24:57,119 Speaker 2: a very mischaracterized picture of the relationship between Rubens and 429 00:24:57,240 --> 00:25:00,640 Speaker 2: Van Dyke. For all these years, it's always been believed 430 00:25:00,680 --> 00:25:03,399 Speaker 2: that the two men were very close, but it's entirely 431 00:25:03,480 --> 00:25:06,720 Speaker 2: possible that theirs was really more of a business relationship. 432 00:25:07,240 --> 00:25:10,760 Speaker 2: Their lives were just so markedly different. While Van Dyke 433 00:25:10,840 --> 00:25:14,840 Speaker 2: was focused solely on art his entire life, Rubens, as 434 00:25:14,840 --> 00:25:18,080 Speaker 2: we just said, was also a diplomat. The older artist 435 00:25:18,160 --> 00:25:20,960 Speaker 2: also had a wife and children, whereas Van Dyke didn't 436 00:25:21,000 --> 00:25:23,760 Speaker 2: marry until near the end of his life. So it's 437 00:25:23,840 --> 00:25:27,200 Speaker 2: possible that, based on things like the writings of Belori 438 00:25:27,280 --> 00:25:30,920 Speaker 2: that we mentioned earlier, everyone just had this completely wrong 439 00:25:31,040 --> 00:25:33,919 Speaker 2: take on the situation, and what's been perceived as a 440 00:25:34,000 --> 00:25:37,199 Speaker 2: rift may have just been a natural drift apart. But 441 00:25:37,280 --> 00:25:40,320 Speaker 2: it also may have been a matter of insightful recognition 442 00:25:40,400 --> 00:25:44,760 Speaker 2: of business viability. Antwerp's art patrons may not have been 443 00:25:44,880 --> 00:25:48,920 Speaker 2: numerous enough to fully support to artists with similar styles, 444 00:25:48,960 --> 00:25:52,640 Speaker 2: so both men traveled to expand their markets rather than 445 00:25:52,680 --> 00:25:56,200 Speaker 2: staying together all the time. Starting in the sixteen thirties, 446 00:25:56,280 --> 00:25:59,520 Speaker 2: Vandyke produced a series of works that were one color, 447 00:25:59,680 --> 00:26:04,120 Speaker 2: using chalk or oil to make simple portraits intended for engraving. 448 00:26:04,800 --> 00:26:07,200 Speaker 2: These were part of the project he undertook with printer 449 00:26:07,320 --> 00:26:11,000 Speaker 2: and art dealer Martin van den Ninden, and the collection 450 00:26:11,320 --> 00:26:15,240 Speaker 2: titled Iconography, didn't get published until after Van Dyke's death 451 00:26:16,080 --> 00:26:20,480 Speaker 2: in sixteen thirty two, eleven years after he had left Anthony, 452 00:26:20,560 --> 00:26:23,560 Speaker 2: van Dyke finally returned to England and he was once 453 00:26:23,600 --> 00:26:27,119 Speaker 2: again greeted warmly by the royal court. King Charles the 454 00:26:27,160 --> 00:26:29,240 Speaker 2: First was in power at that point, and he made 455 00:26:29,280 --> 00:26:32,960 Speaker 2: the Flemish artist the monarchy's principal painter in ordinary with 456 00:26:33,040 --> 00:26:36,440 Speaker 2: a salary of two hundred pounds per year. Van Dyke 457 00:26:36,480 --> 00:26:38,879 Speaker 2: became friendly with the royal family and he made a 458 00:26:38,920 --> 00:26:42,320 Speaker 2: lot of portraits of King Charles, Queen Henrietta Maria and 459 00:26:42,359 --> 00:26:45,320 Speaker 2: their children, and some of these were used to really 460 00:26:45,440 --> 00:26:48,480 Speaker 2: humanize the king in the face of growing unrest in 461 00:26:48,520 --> 00:26:50,840 Speaker 2: the country, so he was kind of a propaganda painter 462 00:26:50,920 --> 00:26:53,760 Speaker 2: in some ways. During the early part of his time 463 00:26:53,800 --> 00:26:57,200 Speaker 2: back in London, Vandyke painted one of his most famous 464 00:26:57,280 --> 00:27:00,919 Speaker 2: self portraits, which was self portrait with a Sunflower. This 465 00:27:01,040 --> 00:27:03,520 Speaker 2: image shows him facing away from the viewer at a 466 00:27:03,520 --> 00:27:06,199 Speaker 2: three quarter angle, with his head turned back over his 467 00:27:06,359 --> 00:27:09,640 Speaker 2: right shoulder. In front of him, there's a sunflower which 468 00:27:09,640 --> 00:27:12,719 Speaker 2: he appears to be pointing at while fixing his guys 469 00:27:12,880 --> 00:27:16,840 Speaker 2: squarely on the viewer. His hair is longer and darker 470 00:27:16,880 --> 00:27:19,520 Speaker 2: than in his earlier portraits, and he has a mustache 471 00:27:19,520 --> 00:27:22,399 Speaker 2: and a goateee. It's no longer the chairub of his 472 00:27:22,520 --> 00:27:26,800 Speaker 2: earlier self portrait work. His outfit seen from the shoulders up, 473 00:27:26,880 --> 00:27:29,639 Speaker 2: is of kind of a salmony pink color, and he 474 00:27:29,680 --> 00:27:32,280 Speaker 2: plays with a gold chain that straped over his shoulder. 475 00:27:32,960 --> 00:27:35,480 Speaker 2: This is an important work in the private collection of 476 00:27:35,520 --> 00:27:36,560 Speaker 2: the Duke of Westminster. 477 00:27:36,760 --> 00:27:40,280 Speaker 1: It is not on public display because if it was, 478 00:27:40,400 --> 00:27:44,000 Speaker 1: I would get a plane ticket today. I love this painting. 479 00:27:44,680 --> 00:27:46,960 Speaker 1: While he stayed longer than he did on his first 480 00:27:47,000 --> 00:27:50,600 Speaker 1: trip when he was visiting King James's court, he did 481 00:27:50,640 --> 00:27:53,479 Speaker 1: return to Antwerp again for a year, starting in sixteen 482 00:27:53,560 --> 00:27:57,399 Speaker 1: thirty four, once again to handle family business. He was 483 00:27:57,440 --> 00:28:01,000 Speaker 1: also named Honorary Dean of the Antwerp of Artists during 484 00:28:01,000 --> 00:28:03,800 Speaker 1: this brief stay in his home country. But he was 485 00:28:03,840 --> 00:28:06,560 Speaker 1: back in England in sixteen thirty five and he moved 486 00:28:06,560 --> 00:28:09,920 Speaker 1: into the neighborhood of Blackfriars. He spent summers in Eltham 487 00:28:09,920 --> 00:28:13,000 Speaker 1: Palace and over the course of several years in London, 488 00:28:13,119 --> 00:28:16,240 Speaker 1: Van Dyke painted portraits of almost everyone in the nobility, 489 00:28:16,320 --> 00:28:18,639 Speaker 1: and many many more portraits of King Charles. 490 00:28:18,720 --> 00:28:22,439 Speaker 2: The first Van Dyke's studio in London became a fast 491 00:28:22,520 --> 00:28:26,720 Speaker 2: paced whirlwind of creation. Like most masters, he had a 492 00:28:26,720 --> 00:28:30,000 Speaker 2: group of assistants and apprentices who helped him. When one 493 00:28:30,040 --> 00:28:32,520 Speaker 2: of his subjects came for a sitting, he would sketch 494 00:28:32,560 --> 00:28:36,200 Speaker 2: out the rough plan, something he increasingly did for portraits 495 00:28:36,240 --> 00:28:39,520 Speaker 2: as his career evolved, and then that sketch would be 496 00:28:39,560 --> 00:28:43,600 Speaker 2: enlarged onto canvas by an assistant. Van Dyke typically painted 497 00:28:43,600 --> 00:28:46,719 Speaker 2: the face, and then the accompanying elements of the canvas 498 00:28:46,800 --> 00:28:50,520 Speaker 2: would be completed again by his assistants, with varying degrees 499 00:28:50,560 --> 00:28:54,080 Speaker 2: of participation from Van Dyke himself. He would apply the 500 00:28:54,120 --> 00:28:55,000 Speaker 2: finishing touches. 501 00:28:55,680 --> 00:28:57,680 Speaker 1: Yeah, some of his assistants were doing like all of 502 00:28:57,720 --> 00:29:01,080 Speaker 1: the clothing, but he always did the face. His life 503 00:29:01,080 --> 00:29:03,040 Speaker 1: at the end of the sixteen thirties and beginning of 504 00:29:03,080 --> 00:29:06,280 Speaker 1: the sixteen forties could be described as unsettled because he 505 00:29:06,360 --> 00:29:09,480 Speaker 1: was once again often on the move, but he also 506 00:29:09,560 --> 00:29:13,280 Speaker 1: made the decision to settle down. In early sixteen forty, 507 00:29:13,720 --> 00:29:16,680 Speaker 1: Anthony married Mary Ruthven, who was Lady in waiting to 508 00:29:16,760 --> 00:29:20,680 Speaker 1: Queen Henrietta. This was something of a surprise to a 509 00:29:20,720 --> 00:29:23,400 Speaker 1: lot of people. Throughout his life, Van Dyke had many 510 00:29:23,440 --> 00:29:26,640 Speaker 1: relationships with women and often had more than one romance 511 00:29:26,720 --> 00:29:29,800 Speaker 1: going at a time as he traveled around Europe. He 512 00:29:29,920 --> 00:29:33,040 Speaker 1: was sort of infamously involved with a woman named Margaret 513 00:29:33,120 --> 00:29:35,760 Speaker 1: Lemon right up to the time he was married to Ruthven. 514 00:29:36,600 --> 00:29:39,880 Speaker 1: Stories of Margaret are all about how intense and jealous 515 00:29:39,920 --> 00:29:42,480 Speaker 1: she was, and some of the very graphic threats of 516 00:29:42,520 --> 00:29:46,160 Speaker 1: bodily harm that she issued should Anthony ever cheat on her. 517 00:29:47,240 --> 00:29:50,440 Speaker 1: She sort of vanishes into the historical record once the 518 00:29:50,480 --> 00:29:53,240 Speaker 1: painter left her for his marriage to Mary, though. 519 00:29:53,680 --> 00:29:56,400 Speaker 2: This was by all accounts a happy marriage and soon 520 00:29:56,480 --> 00:29:59,600 Speaker 2: Mary was pregnant. But though this should have been a 521 00:29:59,600 --> 00:30:04,160 Speaker 2: time of joy, a shadow was cast when Van Dyke's mentor, Rubens, 522 00:30:04,200 --> 00:30:07,040 Speaker 2: died of heart failure in late May of sixteen forty. 523 00:30:07,960 --> 00:30:10,800 Speaker 2: A few months later, Van Dyke decided to return once 524 00:30:10,880 --> 00:30:13,480 Speaker 2: more to Antwerp to pay his respects, although this was 525 00:30:13,520 --> 00:30:17,760 Speaker 2: a brief visit. His final self portrait was created sometime 526 00:30:17,920 --> 00:30:22,240 Speaker 2: during this transitional period of his life. It's less colorful 527 00:30:22,240 --> 00:30:25,480 Speaker 2: than the others, certainly far less so than the Sunflower 528 00:30:25,520 --> 00:30:29,440 Speaker 2: self portrait, although he's posed at the same angle. This time. 529 00:30:29,520 --> 00:30:33,000 Speaker 2: He wears a black doublet with white slashing. The background 530 00:30:33,160 --> 00:30:36,040 Speaker 2: is a simple, warm brown, and his curly hair and 531 00:30:36,080 --> 00:30:40,000 Speaker 2: facial hair are once again included. He looks quite handsome 532 00:30:40,040 --> 00:30:43,600 Speaker 2: and his facial expression is mostly neutral, although his eyes 533 00:30:43,720 --> 00:30:46,560 Speaker 2: once again seemed to peer out at the viewer, almost 534 00:30:46,600 --> 00:30:47,880 Speaker 2: as if asking a question. 535 00:30:48,800 --> 00:30:51,560 Speaker 1: This was all happening at the same time that word 536 00:30:51,600 --> 00:30:54,920 Speaker 1: spread that King Louis the thirteenth of France needed a 537 00:30:54,960 --> 00:30:58,680 Speaker 1: decorator for the galleries of the Louver. Van Dyke heard 538 00:30:58,680 --> 00:31:01,920 Speaker 1: about this opportunity. He returned to London after his trip 539 00:31:01,960 --> 00:31:05,280 Speaker 1: to Antwerp, and he immediately turned and headed to Paris 540 00:31:05,320 --> 00:31:07,600 Speaker 1: to try to get an audience with the king because 541 00:31:07,600 --> 00:31:10,600 Speaker 1: he wanted to lobby for this commission. But though he 542 00:31:10,680 --> 00:31:13,160 Speaker 1: made it there, he did not get the job. That 543 00:31:13,200 --> 00:31:16,800 Speaker 1: commission went to French painters Nicholas Poussin and Simon Vouis. 544 00:31:17,520 --> 00:31:19,480 Speaker 1: At this point, the forty two year old Van Dyke 545 00:31:19,560 --> 00:31:22,360 Speaker 1: was not well. His health had been in decline in 546 00:31:22,440 --> 00:31:25,520 Speaker 1: this frantic pace of his life, including going back to 547 00:31:25,600 --> 00:31:29,480 Speaker 1: Antwerp and France once again. Before returning to England had 548 00:31:29,480 --> 00:31:32,719 Speaker 1: taken a toll. He had developed a tremor in his 549 00:31:32,840 --> 00:31:35,200 Speaker 1: right hand that was bad enough that he couldn't sign 550 00:31:35,240 --> 00:31:39,040 Speaker 1: his name naturally. He was concerned about this, and he 551 00:31:39,160 --> 00:31:41,680 Speaker 1: said to have visited a number of physicians in the 552 00:31:41,720 --> 00:31:44,120 Speaker 1: hope of finding a cure, but nothing came of it. 553 00:31:45,040 --> 00:31:48,040 Speaker 1: King Charles the First was deeply concerned for his painter 554 00:31:48,200 --> 00:31:51,160 Speaker 1: and friends, so much so that he offered three hundred 555 00:31:51,200 --> 00:31:54,680 Speaker 1: pounds as a reward for anyone who could help. The 556 00:31:54,760 --> 00:31:57,520 Speaker 1: King's own physician attended to Van Dyke, but he was 557 00:31:57,600 --> 00:32:01,520 Speaker 1: unable to cure him or improve his condition. Van Dyke's 558 00:32:01,560 --> 00:32:05,000 Speaker 1: daughter with Mary, named Justiniana, was born on December first, 559 00:32:05,040 --> 00:32:09,200 Speaker 1: sixteen forty one. Anthony was at the birth. The baby 560 00:32:09,240 --> 00:32:12,080 Speaker 1: was baptized a little over a week later on December ninth, 561 00:32:12,120 --> 00:32:14,440 Speaker 1: and just hours after that, Van Dyke died at his 562 00:32:14,520 --> 00:32:20,240 Speaker 1: home in Blackfriars. In between Justiniana's birth and her baptism, 563 00:32:20,320 --> 00:32:23,920 Speaker 1: Knowing clearly how serious his health crisis was, Van Dyke 564 00:32:24,000 --> 00:32:27,960 Speaker 1: had made his will, and that will actually contained a surprise. 565 00:32:28,800 --> 00:32:32,000 Speaker 1: Justiniana was not his first child. He had been hiding 566 00:32:32,080 --> 00:32:35,000 Speaker 1: another daughter born to one of his mistresses, all the 567 00:32:35,000 --> 00:32:37,680 Speaker 1: way back in sixteen twenty two when he was in 568 00:32:37,720 --> 00:32:41,280 Speaker 1: his early career in Antwerp, and his sister Susannah had 569 00:32:41,360 --> 00:32:44,600 Speaker 1: raised that girl, named Maria Theresa, who was just shy 570 00:32:44,640 --> 00:32:47,160 Speaker 1: of twenty when he died, and he provided for her 571 00:32:47,200 --> 00:32:50,720 Speaker 1: in his will. Vandyke was buried in England in Old 572 00:32:50,760 --> 00:32:54,520 Speaker 1: Saint Paul's Cathedral. The king ordered a monument to be 573 00:32:54,560 --> 00:32:58,680 Speaker 1: erected over the final resting place, although what was inscribed 574 00:32:58,800 --> 00:33:03,760 Speaker 1: on it is reported differently by various sources. We cannot 575 00:33:03,920 --> 00:33:07,280 Speaker 1: verify which is correct because this monument burned in the 576 00:33:07,280 --> 00:33:11,600 Speaker 1: Great Fire in sixteen sixty six. Van Dyke's collection of 577 00:33:11,640 --> 00:33:15,280 Speaker 1: print portraits Iconography published four years after his death in 578 00:33:15,360 --> 00:33:18,440 Speaker 1: sixteen forty five, and that has become sort of a 579 00:33:18,520 --> 00:33:22,280 Speaker 1: visual directory of many of Antwerp's most prominent citizens during 580 00:33:22,360 --> 00:33:25,680 Speaker 1: Van Dyke's career. For example, there are two portraits of 581 00:33:25,720 --> 00:33:29,000 Speaker 1: Peter Breugel, the younger in that group, that are particularly striking. 582 00:33:29,560 --> 00:33:33,440 Speaker 1: Van Dyke's legacy really cannot be overstated. His work truly 583 00:33:33,560 --> 00:33:36,680 Speaker 1: changed portraiture in England, and a lot of artists who 584 00:33:36,720 --> 00:33:39,840 Speaker 1: came after him, including Thomas Gainsborough, a painter of the 585 00:33:39,840 --> 00:33:43,640 Speaker 1: famous Blue Boy portrait, and Sir Joshua Reynolds, who helped 586 00:33:43,640 --> 00:33:46,520 Speaker 1: found the Royal Academy of Arts. I'll cite him as 587 00:33:46,560 --> 00:33:51,040 Speaker 1: a primary influence, as has no doubt been evident throughout 588 00:33:51,080 --> 00:33:53,920 Speaker 1: this episode. There are huge gaps in the record of 589 00:33:54,040 --> 00:33:57,240 Speaker 1: Van Dyke's life, and some of this may have been purposeful, 590 00:33:57,360 --> 00:33:59,520 Speaker 1: because it's possible that a man with the kinds of 591 00:33:59,520 --> 00:34:02,440 Speaker 1: secrets he would only divulge, for example, in his will, 592 00:34:03,160 --> 00:34:06,000 Speaker 1: might not have wanted to account for his various visits 593 00:34:06,040 --> 00:34:08,799 Speaker 1: to places he traveled as anything more than I just 594 00:34:08,840 --> 00:34:11,480 Speaker 1: have business there. But some of it is also just 595 00:34:11,480 --> 00:34:14,920 Speaker 1: that records were lacking. A lot of records burned and 596 00:34:15,080 --> 00:34:18,520 Speaker 1: people just didn't track every little thing. And the interesting 597 00:34:18,600 --> 00:34:20,960 Speaker 1: result of all of this in Van Dyke's case is 598 00:34:21,000 --> 00:34:24,600 Speaker 1: that we don't know how many paintings he made. There 599 00:34:24,640 --> 00:34:27,839 Speaker 1: are estimates, but those vary from two hundred to five 600 00:34:27,960 --> 00:34:31,200 Speaker 1: hundred pieces. And because he was so influential, a lot 601 00:34:31,239 --> 00:34:33,840 Speaker 1: of artists that followed took great pains to try to 602 00:34:33,880 --> 00:34:37,000 Speaker 1: capture his style in their work. He also had a 603 00:34:37,040 --> 00:34:39,399 Speaker 1: lot of assistance, so this all has led to some 604 00:34:39,520 --> 00:34:43,719 Speaker 1: uncertain attributions over the years. Some have eventually been attributed 605 00:34:43,760 --> 00:34:45,840 Speaker 1: to the assistance of his workshop, but there are a 606 00:34:45,840 --> 00:34:49,000 Speaker 1: lot of others that still have question marks. As recently 607 00:34:49,040 --> 00:34:52,919 Speaker 1: as twenty nineteen, there was a new identification made when 608 00:34:53,120 --> 00:34:56,520 Speaker 1: just such a work, portrait of the Infanta Isabella Clara Eugenia, 609 00:34:56,920 --> 00:34:59,280 Speaker 1: was identified as an original Van Dyke. 610 00:35:00,800 --> 00:35:06,080 Speaker 2: Oh you're so happy talking about art, I am. I 611 00:35:06,160 --> 00:35:08,520 Speaker 2: love it and I really love his im I will 612 00:35:08,560 --> 00:35:11,520 Speaker 2: talk about it some in the behind the scenes, like 613 00:35:11,560 --> 00:35:14,600 Speaker 2: the way I plagued some of my friends by sending 614 00:35:14,640 --> 00:35:17,480 Speaker 2: them photographs of Van Dyke work and like, could you 615 00:35:17,520 --> 00:35:19,439 Speaker 2: believe this was penty four hundred years ago? 616 00:35:22,840 --> 00:35:27,240 Speaker 1: I just mind boggling. I do have some listener mail 617 00:35:28,000 --> 00:35:30,360 Speaker 1: which comes from our listener Caitlin, and it is about 618 00:35:30,400 --> 00:35:35,040 Speaker 1: planners and specifically Planners and ADHD. Caitlyn writes, Hi, Holly 619 00:35:35,040 --> 00:35:37,200 Speaker 1: and Tracy, and Happy New Year. Listening to the New 620 00:35:37,239 --> 00:35:40,040 Speaker 1: Year's Day episode on planners and Almanacs, as well as 621 00:35:40,040 --> 00:35:42,640 Speaker 1: the behind the scenes, brought back a visceral memory of 622 00:35:42,680 --> 00:35:46,360 Speaker 1: being an elementary school and having the teacher distribute planners 623 00:35:46,400 --> 00:35:49,440 Speaker 1: to each student. They were August to June to align 624 00:35:49,440 --> 00:35:51,319 Speaker 1: with the school year, and every month there were little 625 00:35:51,360 --> 00:35:54,759 Speaker 1: quotes and fun facts, as well as so many holidays. 626 00:35:55,400 --> 00:35:57,759 Speaker 1: Every day when we were given homework, our teacher would 627 00:35:57,760 --> 00:35:59,839 Speaker 1: ask us to pull out our planners and write down 628 00:35:59,840 --> 00:36:03,719 Speaker 1: the details concerts, field trips, any other reason a nine 629 00:36:03,800 --> 00:36:06,400 Speaker 1: year old might need to know a date into the planner. 630 00:36:06,960 --> 00:36:10,080 Speaker 1: I inevitably would lose my planner several times a semester, 631 00:36:10,360 --> 00:36:12,920 Speaker 1: or fished out crumpled and unmarked from the bottom of 632 00:36:12,920 --> 00:36:16,200 Speaker 1: my backpack when challenged. Because I usually did my homework 633 00:36:16,200 --> 00:36:19,200 Speaker 1: in class after my other work, missing technical deadlines was 634 00:36:19,360 --> 00:36:22,759 Speaker 1: no big deal. Fast forward to age twenty three, and 635 00:36:22,800 --> 00:36:26,000 Speaker 1: it turned out I have ADHD. All of my efforts 636 00:36:26,040 --> 00:36:28,880 Speaker 1: and attempts at systems and bullet journals and calendars had 637 00:36:28,920 --> 00:36:32,399 Speaker 1: been thwarted, not by innate laziness or it not being 638 00:36:32,440 --> 00:36:37,520 Speaker 1: for me, but by brainworms. A few years out, I'm 639 00:36:37,560 --> 00:36:40,440 Speaker 1: on ADHD meds and my color coded dry erase calendar 640 00:36:40,560 --> 00:36:43,200 Speaker 1: lives with my fridge and is strictly up to date. Mostly. 641 00:36:43,680 --> 00:36:45,600 Speaker 1: Hope y'all are well, and I've attached some shark to 642 00:36:45,680 --> 00:36:48,279 Speaker 1: post photos as pet text. She was recently put on 643 00:36:48,320 --> 00:36:51,120 Speaker 1: a diet after being certified chonky at the VET, and 644 00:36:51,160 --> 00:36:53,879 Speaker 1: she hates it a lot. Yeah, I've had a cat 645 00:36:53,960 --> 00:36:56,680 Speaker 1: on a diet. He no like it one bit. She 646 00:36:56,800 --> 00:37:00,520 Speaker 1: also asks about accessibility when we plan our trips. The 647 00:37:00,600 --> 00:37:03,960 Speaker 1: answer is yes, but also it becomes difficult to gauge 648 00:37:04,000 --> 00:37:08,200 Speaker 1: accessibility when we're planning international trips sometimes, but we do 649 00:37:08,239 --> 00:37:10,600 Speaker 1: always consider it. It doesn't always work out, obviously, it's 650 00:37:10,719 --> 00:37:13,560 Speaker 1: kind of tricky on international travel. But I hope nobody 651 00:37:13,600 --> 00:37:17,760 Speaker 1: thinks that we're just ignoring that this cat is very cute. 652 00:37:17,880 --> 00:37:21,279 Speaker 1: She looks like a dilutey calico. It's hard to tell 653 00:37:21,360 --> 00:37:23,240 Speaker 1: case she's in shadow. She may be full of calico, 654 00:37:23,880 --> 00:37:26,040 Speaker 1: but the cutest thing on the planet. Listen, I love 655 00:37:26,040 --> 00:37:26,799 Speaker 1: a chunky cat. 656 00:37:27,280 --> 00:37:30,359 Speaker 2: I also really like this email because while we talked 657 00:37:30,360 --> 00:37:33,560 Speaker 2: about planners and how some people love planners, we didn't 658 00:37:33,600 --> 00:37:35,840 Speaker 2: really talk about how planners can be very flum mixing 659 00:37:35,920 --> 00:37:39,640 Speaker 2: for people sometimes when they don't even really realize why. 660 00:37:41,000 --> 00:37:43,480 Speaker 2: And I think it's valid to discuss that, Like, there 661 00:37:43,480 --> 00:37:45,120 Speaker 2: are some people that just look at a planner and 662 00:37:45,160 --> 00:37:49,080 Speaker 2: it looks like torture. So while I love them because I, 663 00:37:49,480 --> 00:37:52,480 Speaker 2: you know, have a little bit of attention issues myself. 664 00:37:52,920 --> 00:37:55,360 Speaker 2: For me, that's like the good tool, but I understand 665 00:37:55,360 --> 00:37:56,640 Speaker 2: that doesn't work for everybody. 666 00:37:57,800 --> 00:38:00,000 Speaker 1: Anyway. I hope, whether you're a planner person or not, 667 00:38:00,080 --> 00:38:02,000 Speaker 1: that you're having a great start to the new year. 668 00:38:02,760 --> 00:38:05,800 Speaker 1: I suppose you could write us if you would wish 669 00:38:05,880 --> 00:38:09,200 Speaker 1: and share your experiences and maybe you're kiddies or puppies 670 00:38:09,280 --> 00:38:13,360 Speaker 1: or snakes or translats or whatever pets you have and enjoy. 671 00:38:13,640 --> 00:38:15,360 Speaker 1: I would love it if someone would send us. 672 00:38:15,200 --> 00:38:19,879 Speaker 2: Some some Corvid pictures. Anybody got a pet raven send 673 00:38:19,880 --> 00:38:24,040 Speaker 2: them along. You can do that at History podcast at 674 00:38:24,040 --> 00:38:25,280 Speaker 2: iHeartRadio dot com. 675 00:38:25,400 --> 00:38:27,799 Speaker 1: We're also on social media as Missed in History, and 676 00:38:27,960 --> 00:38:31,239 Speaker 1: you can subscribe to the show on the iHeartRadio app 677 00:38:31,239 --> 00:38:34,920 Speaker 1: and anywhere else you get your favorite shows. 678 00:38:38,719 --> 00:38:41,840 Speaker 2: Stuff you Missed in History Class is a production of iHeartRadio. 679 00:38:42,200 --> 00:38:46,799 Speaker 2: For more podcasts from iHeartRadio, visit the iHeartRadio app, Apple Podcasts, 680 00:38:46,920 --> 00:38:50,520 Speaker 2: or wherever you listen to your favorite shows.