He became a very successful portrait and history painter in his native Antwerp. A sketch for one wall remains, but by 1638 Charles was too short of money to proceed. [23], A letter dated 13 August 1641, from Lady Roxburghe in England to a correspondent in The Hague, reported that van Dyck was recuperating from a long illness. Charles I with M. de St Antoine is an oil painting on canvas by the Flemish painter Anthony van Dyck, depicting Charles I on horseback, accompanied by his riding master, Pierre Antoine Bourdon, Seigneur de St Antoine.. Charles I became King of England, Scotland and Ireland in 1625 on the death of his father James I, and van Dyck became Charles's Principal Painter in Ordinary in 1632. [42] In 2008, Patrimonio Nacional of Spain recovered a Martyrdom of Saint Sebastian and returned it to The Escorial Monastery, two centuries after its removal and, subsequently, The Real Academia de Bellas Artes de San Fernando has revealed as its own a long-stored painting, added to another, The Virgin with the Child with the repentant sinners,[43] in addition the institution has an original sketch. W trakcie swojej pracy udało mu się stworzyć swój niepowtarzalny styl, który z czasem stał się artystycznym drogowskazem dla innych młodych twórców. Anton van Dyck to cudowne dziecko rodem z Antwerpii. Anthonis van Dyck (i England Sir Anthony van Dyck, Antoon van Dyck eller Dijck født 22. marts 1599 i Antwerpen, død 9. december 1641 i London) var en flamsk maler og engelsk hofmaler.. Van Dyck var i sine unge år Peter Paul Rubens' dygtigste elev. [8] At the same time the dominance of Rubens in the relatively small and declining city of Antwerp probably explains why, despite his periodic returns to the city, van Dyck spent most of his career abroad. 22 marca 1599 w Antwerpii, zm. praca zbiorowa. However, most of his assistants and copyists could not approach the refinement of his manner, so compared to many masters consensus among art historians on attributions to him is usually relatively easy to reach, and museum labelling is now mostly updated (country house attributions may be more dubious in some cases). In addition, in December 2017, a Virgin with Child, which is kept in The Museum Cerralbo and was previously considered the work of Mateo Cerezo, was revealed as the painter's original after an exhaustive study and restoration project. Rubens referred to the nineteen-year-old van Dyck as "the best of my pupils".[7]. His depictions of a young woman with flowing blonde hair wearing a Franciscan cowl and reaching down toward the city of Palermo in its peril, became the standard iconography of the saint from that time onward and was extremely influential for Italian Baroque painters, from Luca Giordano to Pietro Novelli. Jereo koa. Spanish museums own a rich presence of this artist in addition to The Prado's ensemble; The Thyssen-Bornemisza Museum preserves the Portrait of Jacques Le Roy,[40] property of The Carmen Thyssen-Bornemisza Collection but also on display at the Museum there's a Crucified Christ,[41] and The Bilbao Fine Arts Museum houses a great Lamentation before the dead Christ. None of these works appear to remain, except the Eros and Psyche done for the King (below). Malarstwo obce (1599-1641) Zdjęcie. [16] Van Dyck's brilliant etching style, which depended on open lines and dots, was in marked contrast to that of the other great portraitist in prints of the period, Rembrandt, and had little influence until the 19th century, when it had a great influence on artists such as Whistler in the last major phase of portrait etching. Guillaume Nossent was born to Thomas Joseph Nossent and Jeanne Vankerckhoven. Van Dyck worked in London for some months in 1621, then returned to Flanders for a brief time, before travelling to Italy, where he stayed until 1627, mostly in Genoa. View the profiles of people named Van Dyck Antoine. Devine celebru în calitate de pictor al curții regelui Carol I … Szczegóły . 6,4 / 10 7 ocen 1 opinii . W latach 1622–1627 mieszkał we Włoszech m.in. A confusing number of different pigments used in painting have been called "Vandyke brown" (mostly in English-language sources). Antoon van Dijk, Anthony van Dyck – flamandzki malarz epoki baroku, znany głównie jako autor portretów. W 1621 r. van Dyck przeniósł się na kilka lat do Włoch, gdzie miał okazję studiować dzieła najwybitniejszych malarzy renesansu. W wieku 19 lat został przyjęty jako mistrz do gildii św. Reklama. Charles was very short, less than 5 feet (1.5 m) tall, and presented challenges to a portrait artist. Płótno Koronowanie cierniem nawiązuje tutaj do płótna Wskrzeszenie Łazarza (Turyn, Galleria Sabauda).W 1621 roku van Dyck namalował Pojmanie Chrystusa, na którym w nocnej scenerii i w świetle zapalonych pochodni ukazał dramatyczną scenę pojmania Chrystusa. DYCK Anton van . During his lifetime, Charles I granted him a knighthood, and he was buried in St Paul's Cathedral, an indication of his standing at the time of his death. Szczegóły . [48], Christ Crowned with Thorns (c. 1620) in the Prado, The Vision of the Blessed Hermann Joseph c. 1629–30, Rest on the Flight into Egypt, ca. [25], In the 17th century, demand for portraits was stronger than for other types of work. Od 1632 pracował w Anglii na dworze Karola I. Otrzymał tytuł szlachecki i zamieszkał w wiejskiej posiadłości Eltham. Anton van Dyck (Amberes, 22 de marzo de 1599-Londres, 9 de diciembre de 1641) fue un pintor y grabador flamenco especialmente dedicado a la elaboración de retratos. The Van Dyke beard is named after him. Łukasza w Antwerpii. For other persons with the surname, see. [3] His talent was evident very early, and he was studying painting with Hendrick van Balen by 1609, and became an independent painter around 1615, setting up a workshop with his even younger friend Jan Brueghel the Younger. Van Dyck was the most important Flemish painter of the 17th century after Rubens, whose works influenced the young Van Dyck. [36] Van Dyke brown is an early photographic printing process using the same colour. Van Dyck became the dominant influence on English portrait-painting for the next 150 years. Anton van Dyck • Malarstwo • pliki użytkownika sylvia112 przechowywane w serwisie Chomikuj.pl • Antoon van Dyck Święty Marcin dzielący swój płaszcz.jpg, van Dyck Zesłanie Ducha Świętego.jpg Some are studies, which reappear in the background of paintings, but many are signed and dated and were probably regarded as finished works to be given as presents. Antoon van Dyck (his Flemish name) was born to prosperous parents in Antwerp. Wcześnie przejawia wybitne zdolności do rysunku, już w wieku 10 lat rozpoczyna terminowanie u jednego z renomowanych antwerpskich mistrzów. [24] He died in London on 9 December 1641. [37], The British Royal Collection, which still contains many of his paintings, has a total of twenty-six paintings. Rubens was very well-treated during his nine-month visit, during which he was knighted. [45], Tate Britain held the exhibition Van Dyck & Britain in 2009. Van Dyck tried to persuade Charles to commission large-scale series on the history of the Order of the Garter for the Banqueting House, Whitehall, for which Rubens had earlier completed the large ceiling paintings (sending them from Antwerp). nid. Robert Genaille, Maciej Monkiewicz, Antoni Ziemba: Tę stronę ostatnio edytowano 30 lis 2020, 12:35. There he produced an important series of paintings of the city's plague saint Saint Rosalia. [8] This was a problem Velázquez did not have, but equally van Dyck's daily life was not encumbered by trivial court duties as faced by Velázquez. Znany jest głównie jako portrecista, lecz malował również sceny religijne i mitologiczne. 9 grudnia 1641 w Londynie) – flamandzki malarz epoki baroku, znany głównie jako autor portretów. His father was Frans van Dyck, a silk merchant, and his mother was Maria Cupers, daughter of Dirk Cupers and Catharina Conincx. 1630, Alte Pinakothek, Munich, Equestrian Portrait of Thomas Francis, Prince of Carignano, 1634, Katherine, Countess of Chesterfield, and Lucy, Countess of Huntingdon, c. 1636–40, oil on canvas, Yale Center for British Art, Equestrian Portrait of Charles I, c. 1637–38, Portrait of Mary Hill, Lady Killigrew, 1638, Princess Mary, Daughter of Charles I, about 1637, Museum of Fine Arts, Boston, Bewening van Christus, 1635, Royal Museum of Fine Arts Antwerp, The apostle Matthew, Royal Museum of Fine Arts Antwerp, Portrait of Sir George Digby, 2nd Earl of Bristol, English Royalist politician with William Russell, 1st Duke of Bedford ("War and Peace"), 1637, Althorp. Tam wykonał cykl rysunków sławnych ludzi, który został w 1636 opublikowany pod tytułem Ikonografia van Dycka. [33], Much later, the styles worn by his models provided the names of the Van Dyke beard for the sharply pointed and trimmed goatees popular for men in his day, and the van Dyke collar, "a wide collar across the shoulders edged copiously with lace". 147, 23-03-1599 Anthonio Van Dijck, retrieved by the Jordaens Van Dyck Panel Paintings Project (www.jordaensvandyck.org) on 6 April 2017. Rubens was an especial target, who eventually in 1630 came on a diplomatic mission, which included painting, and he later sent Charles more paintings from Antwerp. View the profiles of people named Antoine Vân Dyck. His father was Franz van Dyck, a silk merchant, and his mother was Maria, daughter of Dirk Cupers and Catharina Conincx. His portraits of Charles on horseback updated the grandeur of Titian's Emperor Charles V, but even more effective and original is his portrait of Charles dismounted in the Louvre: "Charles is given a totally natural look of instinctive sovereignty, in a deliberately informal setting where he strolls so negligently that he seems at first glance nature's gentleman rather than England's King". [12][13][14] Recently the New York Times published an article about the Metropolitan Museum of Art's painting of Saint Rosalia by Van Dyck in the context of the COVID-19 virus.[15]. In 1632 he returned to London to be the main court painter, at the request of Charles I of England. 22 marca 1599 w Antwerpii, zm. [8] Dutchman Adriaen Hanneman (1604–1671) returned to his native The Hague in 1638 to become the leading portraitist there. In 1851, the plates were bought by the Calcographie du Louvre.[29]. In 1774 Derby porcelain advertised a figure, after a portrait by Johann Zoffany, of "the King in a Vandyck dress".[35]. Oxford Art Online. [27], Probably during his period in Antwerp after his return from Italy, van Dyck began his Iconography, which became a very large series of prints with half-length portraits of eminent contemporaries. Anton van Dyck to flamandzki malarz epoki baroku. "[16], A fairly small number of landscape pen and wash drawings or watercolours made in England played an important part in introducing the Flemish watercolour landscape tradition to England. [47], The estate of the Earl Spencer at Althorp houses a small collection of van Dycks including War and Peace (Portrait of Sir George Digby, 2nd Earl of Bristol, English Royalist politician with William Russell, 1st Duke of Bedford), which is the most valuable painting in the collection and the favourite of the earl. [34] During the reign of George III, a generic "Cavalier" fancy-dress costume called a Van Dyke was popular; Gainsborough's The Blue Boy is wearing such a Van Dyke outfit. Anthony van Dyck, Charles I with M. de St. Antoine, detail, 1633, Oil on canvas, 370 x 270 cm (Queen’s Gallery, Windsor Castle) The figure dressed in red is Pierre Antoine Bourdin, Seigneur de St. Antoine, an expert riding master who had been sent to Charles by the King of France as a diplomatic gift, along with six thoroughbred horses. [10], He returned to Flanders after about four months, and then left in late 1621 for Italy, where he remained for six years. In April of that year, van Dyck returned to London and was taken under the wing of the court immediately, being knighted in July and at the same time receiving a pension of £200 a year, in the grant of which he was described as principalle Paynter in ordinary to their majesties. A precocious artist, his first independent works date from 1615-16, when he would have been about 17. It was compiled by van Dyck's biographer Bellori, based on information from Sir Kenelm Digby. I 1615 begyndte van Dyck at arbejde selvstændigt, og han udførte blandt andet et antal malerier med motiver fra Bibelen. The relatively few names of his assistants that are known are Dutch or Flemish. When Sophia, later Electoress of Hanover, first met Queen Henrietta Maria, in exile in Holland in 1641, she wrote: "Van Dyck's handsome portraits had given me so fine an idea of the beauty of all English ladies, that I was surprised to find that the Queen, who looked so fine in painting, was a small woman raised up on her chair, with long skinny arms and teeth like defence works projecting from her mouth..."[8], Some critics have blamed van Dyck for diverting a nascent, tougher English portrait tradition—of painters such as William Dobson, Robert Walker and Isaac Fuller—into what certainly became elegant blandness in the hands of many of van Dyck's successors, like Lely or Kneller. Wife of Sir Thomas Wharton; daughter of Robert, 1st Earl of Monmouth.jpg 1,920 × 2,601; 1.83 MB Many portraits were done in several versions, to be sent as diplomatic gifts or given to supporters of the increasingly embattled king. nid. W latach 1617-20 był współpracownikiem Petera Paula Rubensa, będącego dla niego wielkim autorytetem. Urodził się 22 marca 1599 roku w Antwerpii. Następnie kształcił się w pracowni Rubensa w Antwerpii, stopniowo awansując z ucznia na współpracownika mistrza. [32] Flemish painter Pieter Thijs studied in van Dyck's workshop as one of van Dyck's last pupils. Van Dyck was born in Antwerp. He left most of the printmaking to specialists, who engraved after his drawings. Some exist in further states after engraving had been added, sometimes obscuring his etching. In 1626, he was able to persuade Orazio Gentileschi to settle in England, later to be joined by his daughter Artemisia and some of his sons. [29] Most of his plates were printed after only his work had been done. Hans Vlieghe, "Thijs, Pieter." [21] Mary was the daughter of Patrick Ruthven, who, although the title was forfeited, styled himself Lord Ruthven. [8] In 1620, in Rubens's contract for the major commission for the ceiling of the Carolus Borromeuskerk, the Jesuit church at Antwerp (lost to fire in 1718), van Dyck is specified as one of the "discipelen" who was to execute the paintings to Rubens' designs. Syn kupca bławatnego i hafciarki, wcześnie przejawia wybitne zdolności do rysunku, już w wieku 10 lat rozpoczyna terminowanie u jednego z renomowanych antwerpskich mistrzów. Join Facebook to connect with Antoine Vân Dyck and others you may know. Sir Anthony van Dyck (Dutch pronunciation: [vɑn ˈdɛik], many variant spellings;[1] 22 March 1599 – 9 December 1641) was a Flemish Baroque artist who became the leading court painter in England after success in the Southern Netherlands and Italy. He was successful as an independent painter in his late teens, and became a master in the Antwerp guild in 1618. He was provided with a house on the River Thames at Blackfriars, then just outside the City, thus avoiding the monopoly of the Worshipful Company of Painter-Stainers. His Blackfriars studio was frequently visited by the King and Queen (later a special causeway was built to ease their access), who hardly sat for another painter while van Dyck lived.[8][16]. A list of history paintings produced by van Dyck in England survives. Artysta wielokrotnie tworzył obrazy o tematyce religijnej czy mitologicznej, ale zasłynął przede wszystkim jako ceniony portrecista. Portrait of Jacques Le Roy, 1631. https://pl.wikipedia.org/w/index.php?title=Antoon_van_Dyck&oldid=61529569, licencji Creative Commons: uznanie autorstwa, na tych samych warunkach, Korzystasz z Wikipedii tylko na własną odpowiedzialność. - Authentic vintage guaranteed print - Artist / Creator Antoine van Dyck Artist / Engraver J Klaus Sheet dimensions ~ 42 x 30 cm. Join Facebook to connect with Van Dyck Antoine and others you may know. King Charles I was the most passionate collector of art among the Stuart kings, and saw painting as a way of promoting his elevated view of the monarchy. For the Genoese aristocracy, then in a final flush of prosperity, he developed a full-length portrait style, drawing on Veronese and Titian as well as Rubens' style from his own period in Genoa, where extremely tall but graceful figures look down on the viewer with great hauteur. The plates were bought by a publisher; with the plates reworked periodically as they wore out they continued to be printed for centuries, and the series added to, so that it reached over two hundred portraits by the late 18th century. – 09.XII.1641r.) His superb brushwork, apparently rather quickly painted, can usually be distinguished from the large areas painted by his many assistants. Van Dyck must have painted this portrait of Van Uffel and the one in the Herzog Anton Ulrich-Museum, Braunschweig, in Venice about 1622, when he was eagerly searching the city for pictures by Titian, Tintoretto and Veronese (as recorded in his "Italian Sketchbook" in the British Museum, London). The origins and exact nature of their relationship are unclear. Anton van Dyck; Anton van Dyck . Szlif malarski zdobywał w latach 1609–1612 u van Balena. [9] Unlike van Dyck, Rubens worked for most of the courts of Europe, but avoided exclusive attachment to any of them. Antoon van Dyck (n.22 martie 1599, Antwerpen – d. 9 decembrie 1641, Londra) a fost unul dintre cei mai mari pictori și creatori de gravuri flamanzi, reprezentant al stilului baroc, discipol al lui Rubens, inovator în folosirea gravurii cu „acquaforte”. In his visits to Paris in his last years, van Dyck attempted to obtain the commission to paint the Grande Gallerie of the Louvre without success.[26]. 9 grudnia 1641 w Londynie) – flamandzki malarz epoki baroku, znany głównie jako autor portretów. [8] Van Dyck's enormous influence on English art does not come from a tradition handed down through his pupils; in fact it is not possible to document a connection to his studio for any English painter of any significance. Some predate van Dyck, and it is not clear that he used any of them. With the exception of Holbein, van Dyck and his contemporary Diego Velázquez were the first painters of pre-eminent talent to work mainly as court portraitists, revolutionising the genre. When van Dyck was knighted in 1632, he anglicized his name to Vandyke. In this period he also produced many religious works, including large altarpieces, and began his printmaking. In 1640 he accompanied prince John Casimir of Poland after he was freed from French imprisonment. In 1621 he was in the service of James I of England, but left to visit Italy, where he remained until 1627. [19] He painted many of the court, and also himself and his mistress, Margaret Lemon. [44] Finally, The Museum of Fine Arts of Valencia owns an Equestrian Portrait of Don Francisco de Moncada (currently undergoing restoration, April 2020). Van Dyck's portraits flattered more than Velázquez's. [16] In his last years these studio collaborations accounted for some decline in the quality of work.[31]. He continued to add to the series until at least his departure for England, and presumably added Inigo Jones whilst in London. Wydawnictwo: Oxford Seria: Wielka kolekcja sławnych malarzy sztuka . He also painted mythological and biblical subjects, including altarpieces, displayed outstanding facility as a draughtsman, and was an important innovator in watercolour and etching. After a second period in the Netherlands, greater success awaited Van Dyck when he settled at the English court in 1632. Thyssen-Bornemisza Museum, Madrid. Grove Art Online. Naukowe PWN, 2001. [17][18] He was well paid for his paintings in addition to this, at least in theory, as King Charles did not actually pay over his pension for five years, and reduced the price of many paintings. Van Dyck remained in touch with the English court and helped King Charles's agents in their search for pictures. The series was a great success, but was his only venture into printmaking; portraiture probably paid better, and he was constantly in demand. "[11], He was mostly based in Genoa, although he also travelled extensively to other cities, and stayed for some time in Palermo in Sicily, where he was quarantined during the 1624 plague, one of the worst in Sicily's history. His portrait style changed considerably between the different countries he worked in, culminating in the relaxed elegance of his last English period. Antwerp, S.A.A., Parochieregisters, Doopakten, 30/03/1592 - 26/06/1606, fol. Ao amin'i Freebase: Voaova farany tamin'ny 11 Mey 2016 amin'ny 15:30 ity pejy ity. Anthony van Dyck, in full Sir Anthony van Dyck, Flemish Anthonie van Dyck van Dyck also spelled Vandyke, Anthonie also spelled Antonie or Anton, (born March 22, 1599, Antwerp, Spanish Netherlands [now in Belgium]—died December 9, 1641, London, England), after Peter Paul Rubens the most prominent Flemish Baroque painter of the 17th century. He is best known for his portraits of the aristocracy, most notably Charles I, and his family and associates. "Van Dyck" and "Vandyck" redirect here. Anthony van Dyck was a prominent Flemish court painter of the Baroque era.Both Van Dyck’s color palette and adept use of composition were influenced by the Renaissance painter Titian.Born on March 22, 1599 in Antwerp, Belgium, at the age of 10 he was apprenticed under Hendrick van Balen, and by 1618 had been accepted as a master painter in the Guild of St. Luke. Anton van Dyck, Król Anglii Karol I na polowaniu, ok. 1635-38 / Encyklopedia Internautica. Syn kupca bławatnego i hafciarki. Since he was accustomed in the circle of Rubens to noblemen, and being naturally of elevated mind, and anxious to make himself distinguished, he therefore wore—as well as silks—a hat with feathers and brooches, gold chains across his chest, and was accompanied by servants. Wilton House still holds the works he did for one of his main patrons, the Earl of Pembroke, including his largest work, a huge family group portrait with ten main figures. W 1618 otrzymał malarski tytuł mistrzowski. Pawła. Anton Van Dyck (22.III.1599r. He produced drawings, and for eighteen of the portraits he himself etched the heads and main outlines of the figure, for an engraver to work up: "Portrait etching had scarcely had an existence before his time, and in his work it suddenly appears at the highest point ever reached in the art".[28]. ~ 16.5 x 11.8 in. A suite of rooms in Eltham Palace, no longer used by the royal family, was also put at his disposal as a country retreat. At his death there were eighty plates by others, of which fifty-two were of artists, as well as his own eighteen. [vɑn ˈdɛi̯k], ur. La Piedad (o "Lamentación sobre Cristo muerto") - Anton van Dyck.jpg 765 × 1,000; 353 KB Lady Philadelphia (Carey) Wharton, d. 1654. In 1620, at the instigation of George Villiers, Marquess of Buckingham, van Dyck went to England for the first time where he worked for King James I of England, receiving £100. Altogether van Dyck has been estimated to have painted forty portraits of King Charles himself, as well as about thirty of the Queen, nine of the Earl of Strafford, and multiple ones of other courtiers. [46] In 2016 the Frick Collection in New York had an exhibition "Van Dyck: The Anatomy of Portraiture", the first major survey of the artist's work in the United States in over two decades. Anton van Dyck. Antoine Van Dyck was born on month day 1856, at birth place, to Pierre Van Dyck and Jeanne Marie Doms. In England he developed a version of his style which combined a relaxed elegance and ease with an understated authority in his subjects which was to dominate English portrait-painting to the end of the 18th century. Następnie wrócił do Antwerpii, gdzie malował dzieła religijne i portrety dla kościołów w Antwerpii, Courtrai, Termonde. Antoon van Dyck był uczniem Rubensa i w jego pracach wyraźnie widać nawiązania do dzieł swojego mistrza. In 1627, he went back to Antwerp where he remained for five years, painting more affable portraits which still made his Flemish patrons look as stylish as possible. [6] Within a few years he was to be the chief assistant to the dominant master of Antwerp, and the whole of Northern Europe, Peter Paul Rubens, who made much use of sub-contracted artists as well as his own large workshop. Anthony van Dyck studied under Peter Paul Rubens and was one of his most accomplished students. He was already presenting himself as a figure of consequence, annoying the rather bohemian Northern artist's colony in Rome, says Giovan Pietro Bellori, by appearing with "the pomp of Zeuxis ... his behaviour was that of a nobleman rather than an ordinary person, and he shone in rich garments. Web. 22 August 2019, Saint Rosalia Interceding for the City of Palermo, Lord John Stuart and his Brother, Lord Bernard Stuart, principalle Paynter in ordinary to their majesties, Real Academia de Bellas Artes de San Fernando, Equestrian Portrait of Thomas Francis, Prince of Carignano, https://www.nytimes.com/2005/07/29/arts/design/desperately-painting-the-plague.html, https://go.gale.com/ps/anonymous?id=GALE%7CA284449813&sid=googleScholar&v=2.1&it=r&linkaccess=abs&issn=00036536&p=AONE&sw=w, https://www.dulwichpicturegallery.org.uk/about/exhibitions-archive/exhibitions-archive-by-date/2012-van-dyck-in-sicily/, https://www.nytimes.com/2020/03/26/arts/design/van-dyck-metropolitan-museum-virus.html, "Dyck, Anthony van - The Collection - Museo Nacional del Prado", "Annotated works | The Bilbao Fine Arts Museum", "Dyck, Antonio van - La Virgen y el Niño con los pecadores arrepentidos", "As a child I loved the glamour of these men", 583 paintings by or after Anthony van Dyck, The National Gallery: Van Dyck, with short biography, Jordaens Van Dyck Panel Paintings Project, Saint Ambrose barring Theodosius from Milan Cathedral, Thetis Receiving the Weapons of Achilles from Hephaestus, Portrait of Queen Henrietta Maria, as St Catherine, https://en.wikipedia.org/w/index.php?title=Anthony_van_Dyck&oldid=1004592942, Members of the Antwerp Guild of Saint Luke, Short description is different from Wikidata, Wikipedia articles incorporating a citation from the 1911 Encyclopaedia Britannica with Wikisource reference, Articles incorporating a citation from the 1913 Catholic Encyclopedia with Wikisource reference, Wikipedia articles incorporating a citation from the ODNB, Wikipedia articles with KULTURNAV identifiers, Wikipedia articles with RKDartists identifiers, Wikipedia articles with SNAC-ID identifiers, Wikipedia articles with SUDOC identifiers, Wikipedia articles with TePapa identifiers, Wikipedia articles with WORLDCATID identifiers, Wikipedia articles with multiple identifiers, Wikipedia articles with suppressed authority control identifiers, Creative Commons Attribution-ShareAlike License, This page was last edited on 3 February 2021, at 11:05.
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