The sketchbook (London, British Museum) of Anthonie van Dyck contains approximately two hundred sheets recording paintings, drawings, prints, sculptures, and people that he saw during his Italian years (1621-27). This essay continues the work of earlier scholars by identifying further sources for van Dyck's drawings, explores the problems of making such identifications, considers how the sketchbook's organization reflects the artist's goals as a painter, and raises the broader issue of how to interpret van Dyck's selection in the context of his own work.
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