When Anthony van Dyck painted Amarillis and Mirtillo (study) in 1631, he was at a turning point, newly returned to Antwerp after years in Italy and England. This work is remarkable as a rare surviving study for a pastoral subject, a genre then fashionable among the European elite. Unlike his grand portraits, this intimate scene hints at van Dyck’s engagement with poetic drama and the theatrical world, possibly inspired by contemporary performances of Il Pastor Fido, the popular play by Giovanni Battista Guarini.

The existence of this study suggests van Dyck was experimenting, perhaps preparing for a larger commission that either never materialized or has since been lost. The story unfolds in a quiet moment between Amarillis and Mirtillo, lovers from Guarini’s pastoral drama, whose romance is marked by longing and disguise. Van Dyck chooses the instant of tender exchange: Amarillis, perhaps in shepherdess garb, leans toward Mirtillo, her hand gently resting on his arm, while his gaze is fixed on her, uncertain but hopeful. The delicate interplay of their hands and the soft modeling of their faces create a sense of suspended emotion.

The absence of elaborate background focuses attention on the figures, their costumes hinting at the Arcadian setting. Compared to Peter Paul Rubens’ more theatrical treatments of pastoral themes, van Dyck’s study is restrained, emphasizing psychological nuance over spectacle. The medium of Amarillis and Mirtillo (study) remains uncertain—possibly oil on paper or a colored chalk drawing—adding to its air of experimentation. There is no record of a patron or commission, and the work’s early history is obscure, as is often the case with preparatory studies.

It likely remained in van Dyck’s studio or among his circle until it surfaced in later collections. Today, it stands as a testament to van Dyck’s versatility, bridging the world of portraiture and the poetic imagination of the Baroque. Its survival offers a rare glimpse into the artist’s working process and his engagement with the literary culture of his age.