This eminent Flemish painter was born at Antwerp in 1599. His father
early gave him instruction in drawing; he was also instructed by his
mother, who painted landscapes, and was very skillful in embroidery. He
studied afterwards under Henry van Balen, and made rapid progress in the
art; but attracted by the fame of Rubens, he entered the school of that
master, and showed so much ability as to be soon entrusted with the
execution of some of his instructor's designs. Some writers, among whom
D'Argenville was the first, assert that Rubens became jealous of
Vandyck's growing excellence, and therefore advised him to devote
himself to portrait painting; assigning the following anecdote as the
cause of his jealousy. During the short absences of Rubens from his
house, for the purpose of recreation, his disciples frequently obtained
access to his studio, by means of bribing an old servant who kept the
keys; and on one of these occasions, while they were all eagerly
pressing forward to view the great picture of the Descent from the Cross
(although later investigations concerning dates seem to indicate that it
was some other picture), Diepenbeck accidentally fell against the
canvas, effacing the face of the Virgin, and the Magdalen's arm, which
had just been finished, and were not yet dry. Fearful of expulsion from
the school, the terrified pupils chose Vandyck to restore the work, and
he completed it the same day with such success that Rubens did not at
first perceive the change, and afterwards concluded not to alter it.
Walpole entertains a different and more rational view respecting
Rubens' supposed jealousy: he thinks that Vandyck felt the hopelessness
of surpassing his master in historical painting, and therefore resolved
to devote himself to portrait. One authority states that the above
mentioned incident only increased Rubens' esteem for his pupil, in
perfect accordance with the distinguished character for generosity and
liberality, which that great master so often evinced, and which forms
very strong presumptive evidence against so base an accusation. Besides,
his advice to Vandyck to visit Italy--where his own powers had been, as
his pupil's would be, greatly strengthened--may be considered as
sufficient to refute it entirely. They appear to have parted on the best
terms; Vandyck presented Rubens with an Ecce Homo, Christ in the Garden,
and a portrait of Helen Forman, Rubens' second wife; he was presented in
return, by Rubens, with one of his finest horses.