Skip to main content
Fig. 1 | Heritage Science

Fig. 1

From: The young Van Dyck’s fingerprint: a technical approach to assess the authenticity of a disputed painting

Fig. 1

Composite image of the three Saint Jerome paintings with stylistic and iconographic affinities, accompanied by a timeline indicating Van Dyck’s four working periods; a the painting under study: Anthony van Dyck (attributed to), Saint Jerome, 1613–1621, oil on canvas, 148 × 108 cm, Maagdenhuis Museum, Antwerp, photograph by Oswald Pauwels, Artesis Hogeschool, with annotation of three sample locations; b Anthony van Dyck, Saint Jerome with an Angel, 1618–1620, oil on canvas, 165 × 130 cm, Boijmans van Beuningen, Rotterdam; c Anthony van Dyck, Saint Jerome with an Angel, 1618–1620, oil on canvas, 167 × 154 cm, Nationalmuseum, Stockholm, photograph by Erik Cornelius, Nationalmuseum (CC BY SA)

Back to article page
\