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Peter Paul Rubens

Alphabet in Art

Peter Kikis

on 19 May 2016

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Transcript of Peter Paul Rubens

Peter Paul Rubens Alphabet in Art Jegher, Christoffel Nudes Kermesse Xerxes Silenus War Portraiture Death International Hunting Scenes By: Peter Kikis June 28, 1577 May 30, 1640 Siegen, Germany Antwerp, Belgium Altarpieces Baroque Court Artist Evangelical Flanders Greek Mythology Landscapes Marie de' Médici Oil Sketches Queens and Kings Resurrection Tapestry Series Ulysses Venus Young Women Zeus The Descent from the Cross The Raising of the Cross The Four Continents Portrait of Philip IV of Spain The Death of Seneca The Death of Constantine the Great at Modello The Four Evangelists The Raising of the Cross The Head of Medusa Nymphs and Satyrs The Hippopotamus and Crocodile Hunt Wild-Boar Hunt A Hunt of Lions, Tigers and Leopards The ceiling paintings of the Banqueting House at Whitehall, London The Garden of Love The Kermesse The Holy Family with Saints in a Landscape A Shepherd with his Flock in a Woody Landscape A Landscape with a Shepherd and his Flock Marie de Medici as Bellona The Landing of Marie de Medici at Marseilles Marie de Medici, Queen of France The Rape of the Daughters of Leucippus Virgin and Child enthroned with saints Apotheosis of James I for ceiling of Whitehall Banqueting House Self Portrait Portrait of a young boy with a bird Portrait of Marchesa Brigida Spinola Doria Portrait of Anne of Austria King Solomon and the Queen of Sheba Julius Caesar Christ Resurrected The Drunken Silenus Silenus and Satyrs The History of Constantine Ulysses on the Island of the Phaeacians Venus at her Toilet Venus and Adonis Venus at a Mirror The Consequences of War Portrait of a Young Girl Portrait of a Young Woman Zeus and Ganymede The Meeting of Marie de' Medici and Henry IV at Lyons Altarpieces such as 'The Raising of the Cross' and 'The Descent from the Cross' were important in establishing Rubens as Flanders' leading painter. Both of these paintings are considered prime examples of Baroque religious art. Peter Paul Rubens was a prolific 17th century Flemish Baroque painter. He was a proponent of the Baroque style; his work emphasized movement, color, and sensuality. Components of Baroque art:
Images are direct/dramatic
Draws viewer into scene
Emotionally intense
Dramatic use of color
Dramatic contrasts between light and dark
Continuous overlapping of figures/elements Here you can see Baroque characteristics - vivid color - physicality - overlapping figures. Diplomatic duties were a huge part of Rubens' life. From the mid-1620s until his death, Rubens was commissioned by hundreds of patrons for his paintings. One of his most important patrons was King Philip IV of Spain who commissioned over 80 paintings. Rubens' works commonly included more melancholy subject matter. Death played a role in his personal life, and in his works as well. The Four Evangelists isn't his only 'Evangelical' work. A large part of his collection focuses on religious material. Much of Rubens' art output occurred while he was in Flanders. Rubens painted this particular work (we've seen it before) after returning to Flanders from his stay in Italy. Another one of Rubens' interests lied in Greek Mythology. Many of his works include either direct depictions of the Gods (either Roman or Greek) as well as more indirect symbols that pertain to Greek Mythology. Below are two classics. Rubens painted about thirty hunting scenes throughout his career. His hunting scenes influenced the material of later Flemish painters. Rubens is said to have revived the genre of hunting scenes (it was more popular in the Middle Ages.) He enriched the courtly allusions and contemporary preoccupations of his time. Peter Paul Rubens was a prominent figure on an international stage, namely that of the Catholic church and the royal courts and commercial centers of Europe. As a painter of religious pictures, mythological scenes, classical and modern history, and portraits, Rubens had a broad impact on the art world. In the later 1620s, the demands of Rubens' international clientele and his role in peace negotiations between England and Spain made him the "most harassed man in the world." He spent nine months in London in 1629–30 and created: The ceiling paintings of the Banqueting House at Whitehall, London. Robert Scott Duncanson...just kidding...but I chose landscapes because of him. They are quite similar (in a way.) Rubens painted dozens of different landscape based works. I chose these three because they illuminate three landscape paintings by Rubens each with different subject matter and meaning. Rubens studied the works of Titian. Rubens convincingly modeled the voluptuous female nude with vibrant, red chalk outlines, touches of black chalk, and white chalk highlights. With this innovative combination of chalks, he evoked Titian's energetic brushwork and encouraged printmakers like Christoffel Jegher to follow suit. As collaborators, Rubens and Jegher revived the art of the woodcut, a printmaking technique that by the 1620s had been largely relegated to cheap book illustrations. Carefully carving the complex cross-hatching, swelling lines, and dynamic, rugged contours that Rubens probably drew directly onto the wood block, Jegher's print captures the energy and rich dark tonality that characterized Rubens' work during the 1630s. The Garden of Love, by: Christoffel Jegher (Modeled after Rubens) Rubens frequently mixed genre scenes into his landscape works. In the case of this particular piece, The Kermesse, he adds elements of erotic and matrimonial allegories to a subject of comical satire.It is through these elements that the attention of the viewer is stimulated and engaged. Marie de' Medici was one of Rubens’ greatest patrons. As requested, Rubens had to paint several grandiose projects for her. He had to depict her in truly heroic proportions. One of the most famous ones is 'The Marie de' Medici Cycle.' It is part of a series of twenty-four paintings created by Rubens and commissioned by Marie de' Medici, wife of Henry IV of France. Rubens received the commission in the autumn of 1621. After negotiating the terms of the contract in early 1622, the project was to be completed within two years, coinciding with the marriage of Marie's daughter, Henrietta Maria. Twenty-one of the paintings depict Marie's own struggles and triumphs in life. While this cycle was one of Rubens' first great commissions, Marie de' Medici's life proved a difficult one to portray. Rubens had the task of creating twenty-one paintings about a woman whose life could be measured by her marriage to Henry IV and the births of her six children, one of which died in infancy. Rubens is known for depicting nude figures in his works and emphasizing the fleshy bodies of the nudes. In this work you can see the dramatic Baroque style as well as the exaggerated body types of the females. His drawings are mostly extremely forceful but not detailed; he also made great use of oil sketches as preparatory studies. He was one of the last major artists to make consistent use of wooden panels as a support medium, even for very large works, but he used canvas as well, especially when the work needed to be sent a long distance. For altarpieces he sometimes painted on slate to reduce reflection problems. Below are two examples of how Rubens practiced sketching with oil before actually carrying out his final works. Pretty self-explanatory, Rubens painted A LOT of portraits, including self-portraits. Patrons would pay him large sums of money to have him paint a still-life of themselves. Just as he painted current hierarchy during his career, he also painted historical figures including Julius Caesar and King Solomon and Queen of Sheba. Many of his patrons were either kings or queens and so his diplomatic career was always associated with his artistic talents. He was a well-sought after man in his era. The History of Constantine is a series of tapestries designed by Rubens depicting the life of Constantine I, the first Christian emperor of Ancient Rome. The series was commissioned in 1622 when Rubens was in Paris discussing the paintings he was designing for the Luxembourg Palace for Marie de Medici. Greek & Roman Mythology was one of Rubens' main focuses during his career. 'Zeus and Ganymede' is a beautiful work about a mythological scene. On the right, however, Roman Mythology is implemented by Rubens more symbollically. This painting allegorically depicts the first meeting of Marie and Henry IV. The upper half of the painting shows Marie and Henry as the mythological Roman gods Juno and Jupiter. The representations are accompanied by their traditional attributes. Marie is shown as Juno (Greek Hera) identified by the peacocks and chariot. Henry is shown as Jupiter (Greek Zeus) identified by the fiery thunderbolts in his hand and the eagle. The joining of the couple's right hands is a traditional symbol of the marriage union. Just like Rubens painted a lot of portraits of his patrons, he also took it on himself to paint youth. These two young women/girls portrayed here are possible relatives of Rubens. Therefore, he didn't always paint for a commission. Here, Rubens' subject matter is historical? The story tells of King Ahasuerus (Xerxes) of Persia who dismissed his queen, Vashti, because she had offended him. The king held a nation-wide contest to find a suitable replacement, and he chose Esther, not knowing she was Jewish. Esther, an orphan, was 'fair and beautiful' and had been brought up by her cousin, Mordecai. Esther's Encounter with Xerxes The centerpiece in this work is Mars, yet another Roman mythological subject. Mars is the central figure in the composition. The Roman god of war charges with shield and sword as well as breastplate and helmet. The figure’s skin and cape are dominated by the color red to further emphasize his identity as the Roman god. I chose Ulysses because it was the only ''U' I could think of/relate to Rubens...I couldn't really find much about this painting other than that it relates to mythology, which is a topic Rubens loved....obvi. Rubens always retained a northern-European robustness, even a peasant vitality, that energizes and heats his classical myths, courtly portraits and landscapes. Rubens is one of the supreme painters of emotion; his art focuses on the irrational and the erotic, and includes some of European art's most influential images of violence, turbulence and cruelty. Below are two artworks regarding Silenus. Just got to say, classic 'Raising the Cross',,,but, this time, I used the other name: 'The Resurrection of Christ' so that it would match my title. Once again, we see Rubens' focus on biblical subject matter. More mythology....'Venus and Adonis' takes us back to the 'H' for Hunting....Interesting fact: 'Venus at a Mirror'...is she looking at herself in the mirror? Ah....we have the Venus effect....it has been used centuries after Rubens' tricky little artistic ways... http://en.wikipedia.org/wiki/Peter_Paul_Rubens http://www.guardian.co.uk/culture/2002/dec/21/art http://www.peterpaulrubens.org/ Sources
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