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This volume deals with the triumphal entry of the Cardinal-Infante Ferdinand, brother of King Philip IV of Spain, into Antwerp in 1635, one of the largest and most spectacular festivals ever mounted in an early modern city. The outdoor festivities in honor of the city's new governor included a citywide procession, performances, fireworks, music, and political speeches. Along the processional route appeared nine richly ornamented stages and arches designed by Peter Paul Rubens and executed by a group of local painters and sculptors, including Jacob Jordaens, Theodoor van Thulden, and Jan van den Hoecke. A group of highly distinguished specialists from different disciplines will discuss the entry and Gevaerts' book from a myriad of viewpoints, including art, architecture, music, theater, history, politics, classical knowledge, and economic and intellectual networks. It is the first time that the entry will be examined from a truly interdisciplinary perspective.
Rubens was the most important and creative Flemish artist of the seventeenth century, an era noted for the internationalism of its art. As political and cultural barriers fell, Rubens and his contemporaries, including Van Dyck and Brueghel, travelled throughout Europe, working for a wide variety of patrons that included the different European courts, the Church and the most prominent private collectors of the age. Catherine the Great of Russia sent advisers throughout Europe in search of the most prestigious art collections, with the result that the State Hermitage Museum in St Petersburg is filled with examples of paintings, drawings and the decorative arts from Antwerp, where Rubens and his circle formed a close-knit artistic community, the hub of a network of influence that spanned the Continent. Rubens and his Age presents the jewels of the Hermitage's collection, many of them never before published, including Rubens's monumental allegory The Union of Earth and Water, as well as a remarkable selection of objets d'art, some of which were either owned, designed or commissioned by Rubens himself. This book represents an unprecedented opportunity to explore one of the world's finest collections of European art.
An extraordinary history of Netherlandish drawing, focused on the training and skill of artists during the long 17th century With a lively narrative thread and thematic chapters, this book offers an exceptional introduction to Dutch and Flemish drawing during the long 17th century. Victoria Sancho Lobis discusses the many roles of drawing in artistic training, its function in the production of works in other media, and its emergence as a medium in its own right. Beautifully illustrated with some 120 drawings by artists including Rembrandt van Rijn, Peter Paul Rubens, Hendrick Goltzius, Gerrit von Honthorst, and Jacob De Gheyn, this book surveys current methodologies of studying these works and features a brief history of Dutch papermaking and watermarks as well as a glossary. Paying careful attention to materials and techniques, and informed by recent conservation treatments, Lobis explains how to look at these drawings as records of experimentation and skill, true windows into the artist’s mind.
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.
Using the career of Peter Paul Rubens as an organizing thread, this conference proceeding examines the complex relationships between diplomacy, dynastic politics and the visual arts during the early part of the Thirty Years War. What role did exchanges of art and artists play in the diplomacy of this period? How did these exchanges contribute to the development of international formulas for the visual representation of power and glory? To what extent had dynastic alliances and diplomacy created a shared visual language of power and authority throughout much of Europe, as opposed to distinctive national, dynastic or even personal formulas favored by particular patrons? What similarities and dissimilarities can we detect by comparing the relationship between high politics and the visual arts in different European courts? By addressing these and other related questions, ot only Rubens’s own work is illuminated but also the interplay between international dynastic politics and the visual language of power more generally during a critical fifteen year period.
The six glorious scenes that make up the Triumph of the Eucharist series by Peter Paul Rubens (1577–1640) are highlights of the Museo Nacional del Prado’s superb collection of Flemish paintings. Completed in 1626, these brilliantly detailed sketches were painted at the behest of the Infanta Isabel Clara Eugenia in preparation for a series of monumental tapestries that are now considered among the finest made in Europe in the seventeenth century. Unfortunately, additions to the wooden supports, introduced after the paintings were created, made the panels considerably larger than Rubens intended and over time caused serious damage to the original sections. With the aid of the Getty Foundation’s Panel Paintings Initiative, the panels have been restored and returned to their original dimensions by the Prado, and the magnificent oil sketches can once again be placed on public view. This lushly illustrated and illuminating volume provides new insight into the history of the Eucharist series of paintings and tapestries and attests to Rubens’s exhilarating art. Spectacular Rubens is published on the occasion of an exhibition of the paintings, on view at the Museo Nacional del Prado from March 25 through June 29, 2014, and at the J. Paul Getty Museum from October 14, 2014, through January 4, 2015.
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.
A generous selection of Rubens' best drawings, chiefly portraits and religious and mythical scenes, that fully reveal his supreme artistic gifts. Publisher's note.
Oil sketches by Peter Paul Rubens—created at speed and in the heat of invention with a colorful loaded brush—convey all the spontaneity of the great Flemish painter’s creative process. This ravishing book draws from both private and public collections to present in full color 40 of Rubens’s oil sketches. Viewers will find in these informal paintings an enchanting intimacy and gain a new appreciation of Rubens’s capacity for invention and improvisation, and of his special genius for dramatic design and coloristic brilliance. The book investigates the role of the oil sketch in Rubens’s work; the development of the artist’s themes and narratives in his multiple sketches; and the history of the appreciation of his oil sketches. It also explores some of the unique aspects of his techniques and materials. By revealing the oil sketches as the most direct record of Rubens’s creative process, the book presents him as the greatest and most fluent practitioner of this vibrant and vital medium.