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    Rubens: 265 Plates
    Rubens: 265 Plates
    Rubens: 265 Plates
    Ebook285 pages31 minutes

    Rubens: 265 Plates

    By Maria Peitcheva

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    About this ebook

    Peter Paul Rubens (1577-1640) was the most versatile and influential Baroque artist in northern Europe in the seventeenth century. Highly gifted and internationally oriented, the Flemish artist received commissions from almost all of Europe's major courts. His art blends the High Renaissance of Italy, with which he was familiar from an eight-year stay on the Italian peninsula, with northern realism. Having a phenomenal knowledge of classical antiquity, he was the prototype of the intellectual artist.
    LanguageEnglish
    PublisherMaria Peitcheva
    Release dateDec 1, 2015
    ISBN9788892524606
    Rubens: 265 Plates

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      Book preview

      Rubens - Maria Peitcheva

      Rubens:

      265 Plates

      By Maria Peitcheva

      First Edition

      *****

      Rubens: 265 Plates

      *****

      Copyright © 2015 by Maria Peitcheva

      Foreword

      Peter Paul Rubens (1577-1640) was the most versatile and influential Baroque artist in northern Europe in the seventeenth century. Highly gifted and internationally oriented, the Flemish artist received commissions from almost all of Europe's major courts. His art blends the High Renaissance of Italy, with which he was familiar from an eight-year stay on the Italian peninsula, with northern realism. Having a phenomenal knowledge of classical antiquity, he was the prototype of the intellectual artist.

      Born in Siegen, Germany, Rubens spent most of his life in Antwerp, then in the Southern Netherlands. Archduke Albert and Archduchess Isabella, the rulers of the Southern Netherlands, employed him as their court painter and sought his assistance in diplomatic affairs. After Albert's death in 1621, Rubens became a close advisor to Isabella. His command of Dutch, Latin, Italian, German, and French was a great advantage during his diplomatic missions, which he always combined with painting.

      The majority of Rubens's drawings served as a step toward a final work of art in another medium. Rubens kept his drawings close by as studio material to be used by his assistants and collaborators. It was often with the help of his drawings that assistants would execute the related paintings; later, Rubens would merely add the finishing touches. There are indications that the artist guarded his drawings from the outside world, both because he wanted no one to witness his artistic exertions, his sweat and toil, and because the drawings were considered a kind of studio secret. How careful he was about them is clear from his last will and testament, in which he stipulated that his drawings were not to be sold until it was clear that none of his children would become an artist. Rubens himself would never have thought to present them.

      Rubens’ drawings and oil sketches played a variety of supporting roles in his work from the very beginning of his career, when he was apprenticed to Antwerp painter Adam van Noort, and later to Otto van Veen. Following the practice of the day, the young artist made numerous copies of masterworks, particularly the Northern painters Tobias Stimmer and Hans Holbein. In 1600, Rubens moved to Italy, where he obtained a position with the court of the Duke of Gonzaga in Mantua. There, he spent an enormous amount of energy making drawings of the work of all the Renaissance masters, particularly Titian, Michelangelo, and Raphael. The purpose of this enterprise was not simply to learn; it was actually an attempt to ransack the available iconography and compositions so that he could amass a personal library of imagery for later use. What the artist most valued in these drawings was not their personal calligraphy or quality of rendering, but simply their design information. After he left Italy in 1608 to take up permanent residence in Antwerp, Rubens continued to employ young artists to sketch whatever paintings in Italy they

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