Abstract
Anthony van Dyck's early paintings of Saint Sebastian allowed the painter to propose an analogy between the martyrdom of the saint and the practice of posing models in the studio. He used disguised self-portraiture to identify not with the artist but, rather, with the model. On the one hand, Van Dyck's Sebastian paintings declare the young painter's commitment to life study. On the other, his self-depiction as both martyr and model allowed him to allegorize his specific position within the studio of Peter Paul Rubens.
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