NARRATOR: This painting is by Anthony Van Dyck. Curator Tim Batchelor. TIM BATCHELOR: One striking aspect is the hand, and Van Dyck is very well known for the way that he paints a hand. It’s almost like a signature or a trademark, a way of recognising a Van Dyck portrait. NARRATOR: Where artists before him had revealed the importance of their sitters through clothing, props and symbols, Van Dyck focused his attention on expressive hands and faces, giving his subjects a liveliness. But like many of the artists working in Britain at this time, Van Dyck wasn’t British but came from Antwerp. TIM BATCHELOR: The arrival of Sir Anthony Van Dyck in England in 1632 marked a sea change in British art of that period. He was lured to Britain by Charles I in 1632, and promised, a large pension, a house on the Thames, a studio, a magnificent gold chain and gold metal, and was made the King’s Painter. NARRATOR: Whereas earlier British portraits tended to be more formal and stiff Van Dyck introduced a new sense of elegance and life. So who were his sitters here? TIM BATCHELOR: So, Sir William Killigrew is a courtier at the court of Charles I. He is presented leaning against a pillar which symbolises strength and fortitude. It’s quite a simple, pared back composition, with this kind of characteristic kind of landscape in the background. His wife is shown holding a rose, which may well symbolise love and marriage, a kind of standard symbol which would have been recognisable and easily read by people who had been viewing these pictures at that time.