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Peter Paul Rubens was the most inventive and prolific northern European artist of his age. This book discusses his life and work in relation to three interrelated themes: spirit, ingenuity, and genius. It argues that Rubens and his reception were pivotal in the transformation of early modern ingenuity into Romantic genius. Ranging across the artist’s entire career, it explores Rubens’s engagement with these themes in his art and life. Alexander Marr looks at Rubens’s forays into altarpiece painting in Italy as well as his collaborations with fellow artists in his hometown of Antwerp, and his complex relationship with the spirit of pleasure. It concludes with his late landscapes in connection to genius loci, the spirit of the place.
The first study devoted to classical art’s vital creative impact on the work of the Flemish painter Peter Paul Rubens. For the great Peter Paul Rubens (1577–1640), the classical past afforded lifelong creative stimulus and the camaraderie of humanist friends. A formidable scholar, Rubens ingeniously transmitted the physical ideals of ancient sculptors, visualized the spectacle of imperial occasions, rendered the intricacies of mythological tales, and delineated the character of gods and heroes in his drawings, paintings, and designs for tapestries. His passion for antiquity profoundly informed every aspect of his art and life. Including 170 color illustrations, this volume addresses the creative impact of Rubens’s remarkable knowledge of the art and literature of antiquity through the consideration of key themes. The book’s lively interpretive essays explore the formal and thematic relationships between ancient sources and Baroque expressions: the significance of neo-Stoic philosophy, the compositional and iconographic inspiration provided by exquisite carved gems, Rubens’s study of Roman marble sculpture, and his inventive translation of ancient sources into new subjects made vivid by his dynamic painting style. This volume is published to accompany an exhibition on view at the J. Paul Getty Museum at the Getty Villa from November 10, 2021, to January 24, 2022.
The art of Rubens is rooted in an era darkened by the long shadow of devastating wars between Protestants and Catholics. In the wake of this profound schism, the Catholic Church decided to cease using force to propagate the faith. Like Gian Lorenzo Bernini, Peter Paul Rubens (1577–1640) sought to persuade his spectators to return to the true faith through the beauty of his art. While Rubens is praised for the “baroque passion” in his depictions of cruelty and sensuous abandon, nowhere did he kindle such emotional fire as in his religious subjects. Their color, warmth, and majesty—but also their turmoil and lamentation—were calculated to arouse devout and ethical emotions. This fresh consideration of the images of saints and martyrs Rubens created for the churches of Flanders and the Holy Roman Empire offers a masterly demonstration of Rubens’s achievements, liberating their message from the secular misunderstandings of the postreligious age and showing them in their intended light.
This book examines the reception in Latin America of prints designed by the Flemish artist Peter Paul Rubens, showing how colonial artists used such designs to create all manner of artworks and, in the process, forged new frameworks for artistic creativity. Peter Paul Rubens (1577–1640) never crossed the Atlantic himself, but his impact in colonial Latin America was profound. Prints made after the Flemish artist’s designs were routinely sent from Europe to the Spanish Americas, where artists used them to make all manner of objects. Rubens in Repeat is the first comprehensive study of this transatlantic phenomenon, despite broad recognition that it was one of the most important forces to shape the artistic landscapes of the region. Copying, particularly in colonial contexts, has traditionally held negative implications that have discouraged its serious exploration. Yet analyzing the interpretation of printed sources and recontextualizing the resulting works within period discourse and their original spaces of display allow a new critical reassessment of this broad category of art produced in colonial Latin America—art that has all too easily been dismissed as derivative and thus unworthy of sustained interest and investigation. This book takes a new approach to the paradigms of artistic authorship that emerged alongside these complex creative responses, focusing on the viceroyalties of New Spain and Peru in the seventeenth and eighteenth centuries. It argues that the use of European prints was an essential component of the very framework in which colonial artists forged ideas about what it meant to be a creator.
Over the past four years the Royal Fine Arts Museums of Belgium have undertaken a huge research
Peter Paul Rubens' gifts as an artist were as comprehensive as they were supreme. A prolific painter of illimitable resource and invention, he was a master of intellect and emotion, figure and form, color and sweep. In all his artistic endeavors, he proved himself the true heir of Renaissance art of both the North and the South, inspired by — and assimilating — the best of both. Yet he was very much a man of his time and in retrospect the most powerful, exuberant, and sensuous exponent of the Baroque style in painting. His extraordinary drawings reflect all of these qualities but color, and in them the viewer can clearly perceive — and enjoy at leisure — the awesome range of Rubens' genius. In this superb collection of 44 of his choicest drawings are deeply probing portraits and powerful religious and mythical scenes. His self-portrait, full of opulent and flowing forms, reaches out to us with a startling, penetrating gaze. His individual portraits of a young girl and of George Villiers, Duke of Buckingham, reveal in both instances a touching sensitivity mixed with aristocratic self-possession. Here, too, are two scenes of poignant tenderness suspended in a majestic flow of movement: one depicting the entombment of Christ; the other, Venus lamenting Adonis. The exciting "The Death of Hippolytus" and "A Battle of Greeks and Amazons" reveal Rubens' total command of complex patterns of action and movement. These and over three dozen other works offer limitless pleasure and stimulation to all who prize and wish to study the art of drawing at its most inspired. Meticulously reproduced on fine-quality paper, and offered at a very reasonable price, this beautiful book belongs with others in your collection, reflecting the greatest achievements in Western art.
Sixteen-year-old Austin is always messing up and then joking his way out of tough spots. The sudden appearance of his allegedly dead father, who happens to be the very-much-alive rock star Shane Tyler, stops him cold. Austin—a talented musician himself—is sucked into his newfound father’s alluring music-biz orbit, pulling his true love, Josephine, along with him. None of Austin’s previous bad decisions, resulting in broken instruments, broken hearts, and broken dreams, can top this one. Witty, audacious, and taking adolescence to the max, Austin is dragged kicking and screaming toward adulthood in this hilarious, heart-wrenching YA novel.
Although his popularity is eclipsed by Rembrandt today, Peter Paul Rubens was revered by his contemporaries as the greatest painter of his era, if not of all history. His undeniable artistic genius, bolstered by a modest disposition and a reputation as a man of tact and discretion, made him a favorite among monarchs and political leaders across Europe—and gave him the perfect cover for the clandestine activities that shaped the landscape of seventeenth-century politics. In Master of Shadows, Mark Lamster brilliantly recreates the culture, religious conflicts, and political intrigues of Rubens’s time, following the painter from Antwerp to London, Madrid, Paris, and Rome and providing an insightful exploration of Rubens’s art as well as the private passions that influenced it.
Of more than forty churches that fortified Antwerp as the bulwark of the Counter Reformation in the Netherlands, only St. Jacob’s stands now with its art and archives intact. Parish church of the city’s elite, it is filled with masterpieces, including the altarpiece that Rubens painted for his own burial chapel. Works of architecture, painting, sculpture, and hundreds of sacred objects, documented by the archives, enable a reconstruction of the integral role that art played in the transformation of a whole society over the span of two centuries, from 1585 to the 1790s. It is a history of real people and organizations, who used art for religion, politics, and social purpose, joined together in a church that embodied a diverse community.