The artwork titled “Thomas Howard, 2nd Earl of Arundel and Surrey with His Grandson Lord Maltravers” is a distinguished example of the Baroque period, masterfully executed by the renowned artist Anthony van Dyck in 1635. The medium employed in this portrait is oil on canvas, a common choice for the time which allowed for rich texture and depth. As an exemplar of the Baroque movement, the artwork is infused with dramatic lighting and emotional depth, characteristic of the era’s emphasis on bold details and movement.
In the artwork, Thomas Howard, the 2nd Earl of Arundel, is depicted with a stately presence, dressed in an armor that glistens subtly under the light, which hints at his status and nobility. His demeanor is composed and dignified, befitting his rank as an aristocrat. He is seen looking to the side, away from the viewer, which creates a sense of contemplation or engagement in a scene beyond the canvas’s boundary. Howard holds a baton, a symbol of command and authority, which further augments the portrayal of his leadership and societal role.
Next to him stands his young grandson, identified as Lord Maltravers, clad in a bright red garment that contrasts with the darker tones of Howard’s armored attire. The child’s costume is richly detailed, indicating the wealth and social standing of his family. Maltravers is shown with fair, almost cherubic features and looks directly at the viewer with an expression of youthful curiosity and innocence. His presence injects vitality into the composition and highlights the lineage and dynastic implications of the portrait.
The background of the artwork, while subdued, contributes a sense of depth and context for the figures. A faint tapestry can be discerned behind, suggesting an opulent interior space, perhaps a reflection of the family’s affluence and taste for fine art and decoration. The interaction between the characters and the play of light and shadow exemplify van Dyck’s skill in capturing both the physical likeness and the psychological nuance of his subjects.
