THE PUPILS
The biography on Van Dyck kept in an 18th century manuscript in the Louvre museum (Musée du Louvre, La Vie, circa 1770), which Max Rooses believes to have been written by François Mols in Antwerp around 1770, is partially based on Letters from Cornelis de Wael to Lucas van Uffel and is the most reliable biography of the artist's life. In addition, several paragraphs deal with Van Dyck's pupils active in workshops in Antwerp and London and mainly come from extracts from the publication of Notebooks by the painter George Vertue (1684-1756) by Horace Walpole (1762-1771).
The young artists that Van Dyck employed in England to sketch the draperies or to paint the backgrounds of some of his paintings were, David Beck, Jan van Belcamp, Anne Carlisle, William Dobson, George Geldorp, Adriaen Hanneman, George Jamesone, Remy Van Leemput, Jan de Reyn, Theodore Russel, Peter Thys and also probably Gerard Pieter van Zyl .
We do not see that in Italy anyone other than him has touched his works unless he has employed in Genoa his compatriot Jan Roos, a very esteemed artist of whom no one except the Soprani has spoken, in Antwerp Lange Remy Van Leemput sometimes helped him in the fort of his enterprises.
We can now confirm that Adriaen Hanneman was particularly active in the studio in London with Van Dyck. As such, the comparisons between the signed works of Adriaen Hanneman and certain paintings by Van Dyck leave little room for doubt, Hanneman will have contributed to many works in collaboration with his master, some works even being largely by Hanneman's hand. . We could evoke the case of variants but also of self-portraits of Van Dyck, which would in fact be simple portraits of the artist painted by Hanneman, as has already been suggested by the London art market.
It seems that the artist's activity during his trip to Italy was not shared by renowned pupils; Jan Roos will have produced still lifes in compositions by Van Dyck, it is also likely that external interventions of other hands are not to be excluded, for work of preparation of fabrics, primers, backgrounds or even draperies. , but it is much more likely that on the whole Van Dyck worked alone on his paintings. His frequent trips from one city to another probably did not leave the time necessary for the training of workshops. The recent exhibition on Van Dyck in Sicily at the Dulwich Picture Gallery in London in 2012 was revealing and rather confirming this hypothesis.
- THE WORKSHOP IN ITALY
Jan ROOS (Antwerp 1591 - 1638 Genoa)
- THE WORKSHOP IN ANTWERP
Cornelis de VOS (Hulst 1584 - 1651 Antwerp)
Remy Van LEEMPUT (Antwerp 1607 - 1675)
Bertrand FOUCHIER (Berg-op-Zoom 1609 - 1674)
- THE WORKSHOP IN LONDON
David BECK (Delft 1621-1656 Den Hague)
Jan van BELCAMP (Antwerp 1610 - 1653 London)
Anne CARLISLE (London 1616 - c. 1680)
William DOBSON (London 1610 - 1646 Oxford)
George GELDORP (Cologne 1580/95 - 1665 London)
Adriaen HANNEMAN * (The Hague 1604 - 1671 London)
Georges JAMESONE (Aberdeen 1587 - 1644 Edinburgh)
Remi van LEEMPUT (Antwerp 1607 - 1675 London)
Jan de REYN (Dunkirk 1610 - 1678 Dunkirk)
Theodore RUSSEL (London 1614 - 1689)
Pierre THYS (Antwerp 1624 - 1677 Antwerp)
* Adriaen HANNEMAN:
Extracts from the manuscript La Vie de Van Dyck (1769-91, Louvre) page 126:
"Adriaen Hanneman was born in La Haie in 1610 or in 1611. Van Gool and Descamps say that it is believed that this artist was a pupil of Van Dyck or Jean Ravestein, and that as he never left La Haie, he is more apparent that Ravestein was his first teacher. These authors are correct on this last point, but they are mistaken when they claim that Hanneman never left his native place, for it is reported in the anecdotes about the painting in england that this artist having passed in this kingdom he perfected himself in the painting of the portrait under the direction of Daniel Mytens and that he remained 16 years in this country there. M. Mathieu Verheyden de la Haie who was kind enough to us abandoning additions and corrections that he and a few other curious had made on the lives of painters written by Houbraken, Weyerman and Van Gool, discovered that Mytens having returned to Holland in 1635, Hanneman then entered Anton's home. Van Dyck from whom he took the way, dropping this It was the experience he had trained with his two first masters. This artist had acquired the esteem of Charles I who made him paint several times the Prince of Wales, Princess Marie and her other children. He returned to La Haie in 1646, which proved that he had gone to England in 1630. The limits that we have prescribed for ourselves in this notice do not allow us to expand further on Hanneman's life, it suffices to say here that he made a lot of reputation painting the portrait and that he succeeded in painting the portrait and the allegory. It is believed that he died around the year 1680. "