A refined etching by Anthony van Dyck portraying the Flemish landscape painter Joos de Momper, taken from the artist's famous Iconography series.

This etching by Anthony van Dyck depicts the Flemish painter Joos de Momper. It forms part of the Iconography, a series of portraits of contemporary artists, scholars, and patrons that Van Dyck produced during his career. The print captures De Momper in a three-quarter view, his gaze directed towards the viewer with a sense of direct engagement.

Van Dyck employs a fluid, calligraphic line to define the features of the sitter and the folds of his clothing. The etching technique allows for a spontaneity that contrasts with the more formal painted portraits of the period. The background features a suggestion of a mountainous terrain, a subtle reference to De Momper's own specialisation in landscape painting. The inscription at the base, 'Judocus de Momper Pictor montium Antuerpiae', identifies the subject as a painter of mountains from Antwerp, providing context to his professional identity.

The composition relies on the interplay between the detailed rendering of the face and the looser, more gestural treatment of the drapery. Van Dyck uses hatching and cross-hatching to build volume and shadow, creating a sense of physical presence without the need for excessive detail. The print demonstrates the artist's ability to convey personality and status through minimal means. As a piece of seventeenth-century printmaking, it offers insight into the social and professional networks of the Flemish art world. The work remains a primary source for the appearance of De Momper and reflects the collaborative nature of artistic circles in Antwerp during the early Baroque era.