Sir Anthony van Dyck was a Flemish Baroque artist who became the leading court painter in England after success in the Southern Netherlands and Italy.
The seventh child of Frans van Dyck, a wealthy Antwerp silk merchant, Anthony painted from an early age. He was successful as an independent painter in his late teens, and became a master in the Antwerp guild in 1618. By this time he was working in the studio of the leading northern painter of the day, Peter Paul Rubens, who became a major influence on his work. Van Dyck worked in London for some months in 1621, then returned to Flanders for a brief time, before travelling to Italy, where he stayed until 1627, mostly in Genoa. In the late 1620s he completed his greatly admired Iconography series of portrait etchings, mostly of other artists. He spent five years in Flanders after his return from Italy, and from 1630 was court painter for the archduchess Isabella, Habsburg Governor of Flanders. In 1632 he returned to London to be the main court painter, at the request of Charles I of England.
Jean-Baptiste Nicolas Robert Schuman was a Luxembourg-born French statesman. Schuman was a Christian Democrat political thinker and activist. Twice Prime Minister of France, a reformist Minister of Finance and a Foreign Minister, he was instrumental in building postwar European and trans-Atlantic institutions and was one of the founders of the European Union, the Council of Europe and NATO. The 1964–1965 academic year at the College of Europe was named in his honour.
The Mediterranean and Middle East Theatre was a major theatre of operations during the Second World War. The vast size of the Mediterranean and Middle East theatre saw interconnected naval, land, and air campaigns fought for control of the Mediterranean, North Africa, the Horn of Africa, the Middle East and Southern Europe. The fighting in this theatre lasted from 10 June 1940, when Italy entered the war on the side of Germany, until 2 May 1945 when all Axis forces in Italy surrendered. However, fighting would continue in Greece – where British troops had been dispatched to aid the Greek government – during the early stages of the Greek Civil War.
The British referred to this theatre as the Mediterranean and Middle East Theatre, the Americans called it the Mediterranean Theater of War and the German informal official history of the fighting is The Mediterranean, South-East Europe, and North Africa 1939–1941. Regardless of the size of the theatre, the various campaigns were not seen as neatly separated areas of operations but part of a vast theatre of war.
Fascist Italy aimed to carve out a new Roman Empire, while British forces aimed initially to retain the status quo.