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Peter Paul Rubens (1577-1640)
Fragment of a self-portrait Falfraf Richartz Museum, Cologne The outstanding Flemish painter Peter Paul Rubens (1577-1640) was a man of rare genius, who possessed all the virtues so necessary both for great achievements in art and for success in society - a powerful intellect, ebullient energy, good health, pleasant appearance, an amazing gift of harmony and, in addition, a clear head for creative and business activity.
“The Four Parts of the World” 1612-1614 Kunsthistorisches Museum, Vienna
“Duke of Lerma” 1603 Prado Museum, Madrid Rubens spoke six languages, studied with three Flemish painters, was a happy artist who knew no doubts and disappointments in his work. His contemporaries called him “the king of artists and the artist of kings.” It is enough to look at his paintings, and there will not be the slightest doubt about this.
“Nailed Prometheus” 1610-1611 Museum of Fine Arts, Philadelphia What delighted him most was the malleable, plastic beauty of the human body. Although he liked the material world around him, he was entirely filled with the deep, exalting religious faith of his time.
“Diana’s Return from the Hunt” 1615 Dresden Art Gallery, Germany
"Union of Earth and Water" 1618 State Hermitage Museum Whatever he painted - a blond Venus surrounded by nymphs or a pensive Virgin Mary with a child in her arms, an allegory of powerful figures shining with light on the clouds, a fertile landscape near a house - his work was always a hymn praising the beauty of our world.
“The Holy Family and Saint Anne” 1630 Prado Museum, Madrid “The history of art does not know a single example of such universal talent, such powerful influence, such indisputable, absolute authority, such creative triumph,” one of his biographers wrote about Rubens.
"The Hunt for the Hippopotamus" 1615-1616 Alte Pinakothek, Munich
“The Rape of the Daughters of Leucippus”, 1617 Alte Pinakothek Munich Rubens, like no one else, embodied mobility, unbridled vitality and sensuality European painting Baroque era. His work is an organic fusion of the traditions of Bruegelian realism with the achievements Venetian school.
Rubens is not only a virtuoso master large-scale works on mythological and religious themes, but also a subtle portrait and landscape painter. " Summer landscape with a view of Het Stina" 1635. London National Gallery, England
“The Three Graces” 1639 Prado Museum, Madrid Vivis, vita tuo picta colore rubet. You're alive! In your colors life itself burns. J. P. Bellori.
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Creation
Rubens.
Date of birth: June 28, 1577
Place of birth: Siegen
Date of death: May 30, 1640
Place of death: Antwerp
Genre: history painting, portrait, landscape.
Style: Baroque
only in 1587, after the death of John Rubens, his family received
the opportunity to return to his homeland, Antwerp. For this mother
Rubens again had to convert to Catholicism.
"Hero and Leander" from the Rembrandt collection In 1605, Rubens' brother, while a student
humanist Lipsia, took the place of librarian at
Vatican Cardinal Ascanio Colonna and
invited the young artist to Rome. After two
years of studying classical antiquities in the company
brother Rubens (summer 1607) was summoned to
execution of portraits of the Genoese aristocracy on
Riviera.
Duke of Lerma. Portrait
works by Rubens. In October 1609 Rubens
married to
Isabella Brant, daughter
famous humanist Ian
Branta. Subsequently
decade Rubens reached
Europe of glory, with which from
artists of previous eras
could only be compared
Titian.
"The Kidnapping of the Daughters"
Leucippa", 1618 In 1621, the Flemish regent Isabella
The Spanish made Rubens its advisor
on the issue of extending the Dutch truce
republic. From this time on, Flemish
painter who was distinguished
courtesy, was well read, knew six
languages and corresponded with many
crowned heads (he was called
"the king of artists and the artist of kings"),
becomes a valuable acquisition for
diplomacy of the Spanish Habsburgs.
"Coronation of Mary
Medici", 1625 Rubens never hesitated to imitate
those of the predecessors who
admired him, and especially Titian and
Bruegel. Its first decade
creativity presents a picture
hardworking and methodical development
achievements of artists of the 16th century.
Thanks to this approach, he mastered everything
genres of Renaissance painting and steel
the most versatile artist of his time
time.
"The Hippopotamus Hunt"
1618"Garden of Love", 1632
Rubens' compositional solutions are distinguished by their exceptional diversity
(diagonal, ellipse, spiral), the richness of its colors and gestures never ceases
surprise. Fully consistent with this vitality are the heavy female forms, so
called “Rubensian”, which can repel modern viewer his
somewhat ponderous physicality. "Samson and Delilah", 1609
In the 1610s. Rubens develops new ones for Flemish painting
forms, in particular the genre of hunting scenes, which are imbued with
passionate dynamics of mature baroque (“Crocodile Hunt and
hippopotamus"). In these works, the whirlwind of compositional movement blows away
the limitations traditionally placed on artists by line and form. Procession of Silenus.
Rubens's strokes amaze with their courage and freedom, although
throughout their breadth, he never falls into pastiness. His
the unsurpassed skill of using a brush is evident in
multi-meter compositions of the 1620s, and in precise, light,
moving strokes of small works of the last period.
Slide 2
Sculptural masterpieces of Lorenzo Bernini
"The Ecstasy of Saint Teresa"
Slide 3
A true masterpiece of Bernini's sculptural creativity was the altar composition “The Ecstasy of Saint Teresa” for the Roman Cathedral of Sita Maria della Vittoria. The composition reveals one of the episodes from the notes of the Spanish nun Teresa, who lived in the 16th century. and later canonized by the church. In her notes, she told how one day an angel appeared to her in a dream and pierced her heart with a golden arrow:
“In the angel’s hand I saw a long golden arrow with a fiery tip; it seemed to me that he stabbed it several times into my heart... The pain was so strong that I could not stop myself from screaming, but at the same time I experienced such endless sweetness that... let this pain last forever.”
Slide 4
Bernini faced the difficult task of depicting a supernatural phenomenon, so the sculptural group was conceived as a vision in a dream. The author managed to masterfully convey in marble the highest tension of the heroine’s feelings. The master hides the supporting points of the figures from the viewer; he manages to imagine them floating in the clouds.
Slide 5
The unreality of what is happening is emphasized by beams of rays in the background and swirling clouds on which Saint Teresa reclines, her head thrown back helplessly. Her eyelids are half-closed, as if she does not see the gentle and smiling angel appearing before her. Suffering and pleasure are intertwined in her painfully ecstatic appearance. The heroine’s emotions are brought to the extreme, to the point of frenzy, but at the same time the viewer does not get the impression that her feelings are unnatural. The sculptor reinforced the effect of a mystical vision with light falling in the daytime through the yellow glass of the cathedral window.
Slide 6
Yes, Bernini conquered marble, he really made it “flexible like wax.”
Among Bernini's best creations are the fountains with which he decorated Rome. The most famous of them are the Triton Fountain (1637) and the Four Rivers Fountain (1648-1651) - a brilliant combination of expressive Baroque plasticity with bubbling and foaming water.
Lorenzo Bernini. Fountain of the Four Rivers. Fragment. 1648-1651 Rome
Slide 7
Baroque painting
The fine art of the Baroque is most vividly and expressively represented by decorative monumental painting, which conquered and blinded contemporaries with its festive splendor, intensity of passions, indomitable energy and dynamics. Lush compositions decorated the walls and ceilings (plafonds) of palaces and temples, country residences of the nobility and park pavilions.
Slide 8
Its main themes are the triumph of Divine justice and the glorification in heaven of Christ, the Mother of God and the saints, as well as ancient allegorical subjects, the glorification of military victories, the approval of new laws, the idea of the unlimited power of the state and the church.
Slide 9
Hyacinth Rigo. Portrait of Louis 14. 1701 Louvre. Paris.
Characteristics Baroque were reflected in the genre of ceremonial portrait. The artists saw their main task in conveying contradictory feelings and experiences, the subtlest psychological shades of the human soul.
Slide 10
Not a single court painter of the late 17th century early XVIII V. I couldn’t ignore the genre of ceremonial portraiture.
“All of them created huge portraits depicting a generation or full-length, where the viewer found himself in the realm of lush curtains and ceremonial columns, iridescent silk, heavy velvet, embroidered gold brocade, bulky folds, immense robes, giant wigs and lace whipped like foam, the shine of decorative armor, order chains, stars, ribbons, the shine of precious stones, self-confident faces and poses, pointing fingers, wands, sceptres, attributes of power, rank, title, piled up in such abundance that they make your head spin...
It was a luxurious theater of power that had reached complete self-indulgence and had completely forgotten how to distinguish the visible from the real, the ostensible from the real, or rather, believing only one desired, flattering appearance.”
(V.N. Prokofiev)
Slide 11
How much pomposity and narcissism is in the portrait of Louis XIV, made French artist Hyacinth Rigaud (1659-1743)! The theatricality and pretentiousness of the pose, the arrogant and condescending gaze of the “Sun King,” the excessive luxury of attire, the richness of ceremonial draperies and attributes of royal power are striking. The painting, originally intended as a gift for the nephew of the Spanish king, pleased the customer so much that he wanted to keep the original. A copy was sent to Spain.
Slide 12
Rubens - the king of painting
Rubens, more precisely Rubens (Rubens) Pieter Powell (1577-1640), Flemish painter. From 1589 he lived in Antwerp, where he received a comprehensive humanitarian education. Having devoted himself to painting early, he studied (from 1591) with T. Verhacht, A. van Noort, O. Venius (van Wen). In 1600-1608, Rubens visited Italy, where he studied the works of Michelangelo, painters of the Venetian school, the Carracci brothers, and Caravaggio. Returning to Antwerp, Rubens took the place of the chief court painter of the ruler of Flanders, Infanta Isabella of Austria. Already in his first paintings after his return, a desire to rework Italian impressions in the spirit of national artistic traditions was evident.
Slide 13
When the name Rubens is mentioned, lush Flemish beauties with golden hair, scenes of hunting and battles, bacchanalia, magnificent landscapes with swirling clouds, rapidly falling waterfalls, mighty shady trees, boundless expanses of meadows and fields come to mind...
Slide 14
Peter Powell Rubens (1577-1640) is one of the outstanding artists peace. One of the biographers wrote about the significance of his work:
“The history of art does not know a single example of such universal talent, such powerful influence, such indisputable, absolute authority, such creative triumph.”
Slide 15
Peter Powell Rubens,
Self-portrait with Isabella Brapt. 1609-1610 Alte Pinakothek, Munich
Look at his portrait and you will understand how talented this aspiring artist was. beautiful face Rubens is calm and full of self-esteem. A fashionable, smart suit with a wide lace collar, a hat with a high crown and a metal brooch, leather shoes with elegant garters emphasize his aristocracy and subtle artistic taste. He sits with his young wife in a gazebo entwined with greenery and blooming honeysuckle. With an air of affectionate patronage, he leaned slightly toward his wife, his hand resting on his sword. Expressive eyes are turned directly to the viewer, their infinitely kind gaze is full of quiet and serene happiness. Two figures leaning towards each other, the eloquent gesture of joined hands symbolize inner harmony and love.
Slide 16
Peter Powell Rubens. Battle of the Amazons and the Greeks. 1615-1619 Old Pina Kotek, Munich
Yes, it was a period of peace, work and quiet happiness in the artist’s life. In 1609, Rubens was appointed court painter, and this, in turn, raised his prestige in society and opened the way to free creativity. There was no shortage of orders, and the number of admirers of his talent was constantly growing. His customers were the French Queen Marie de Medici, Princess Isabella of the Netherlands, Genoese merchants...
Slide 17
Rubens had a colossal capacity for work. At six o'clock after morning mass, he went to the studio to his work table or easel, making dozens of sketches and drawings on paper or cardboard. Then he visited students who specialized in certain elements of the painting, and painted ready-made compositions, barely touching individual parts of the canvas with his brush. He created about one and a half thousand independent works and the same amount in co-creation with his students - an incredible figure for a person who lived only 63 years! A convincing commentary on Delacroix’s words: “Rubens is God!”
Slide 18
Peter Powell Rubens,
Union of Earth and Water. 1618
State Hermitage Museum, St. Petersburg
In the allegorical painting “The Union of Earth and Water,” he glorifies the union of two natural elements, without which human life is impossible. The earth is personified by the mother of the gods Kybella, the water is represented by the god of the seas Neptune. On the border of their domains, they enter into an alliance, which is sanctified by the winged goddess Victoria, who places a golden crown on the head of Kybella. A triton trumpeting a greeting emerges from under the rock towards the viewer. Charming putti have fun and play in the streams of flowing water.
Slide 19
This picture contained deep meaning, associated with Rubens’ hope for the speedy prosperity of his homeland. After the division of the Netherlands into North and South Flanders, Flanders lost access to the sea and, therefore, lost profitable trade sea routes. The union of two natural elements - Earth and Water - is a hope for the establishment of peace, the artist’s dream of a union of Flanders with the sea.
Peter Paul Rubens is a painter who, like no one else, embodied the mobility, unbridled vitality and sensuality of European painting of the Baroque era. Rubens's work is an organic fusion of the traditions of Bruegelian realism with the achievements of the Venetian school. Although the fame of his large-scale works on mythological and religious themes thundered throughout Europe, Rubens was also a virtuoso master portrait and landscape.
Biography Peter Paul Rubens was born on June 2, 1577, far from the homeland of his ancestors, in the small town of Siegen in Germany, where his father, Antwerp lawyer Jan Rubens, fled with his family. The future painter spent his childhood in Cologne. Peter Paul at the age of fourteen began to study painting with Antwerp artists. Of the three teachers, they were Tobias Verhahat, Adam van Noort and Otto van Veen. In 1598, Rubens was accepted as a free master into the Antwerp Guild of St. Luke, and in 1600, according to the long-established custom of Dutch painters, he went to complete his artistic education in Italy. In 1601, he was at the court of the Duke of Mantua, Vincenzo Gonzaga, with whom he remained in the service throughout his stay in Italy.
Themes and genres Rubens turned to the themes of the Old and New Testaments, to the depiction of saints, to ancient mythology and historical subjects, allegory, everyday genre, portrait, landscape. A great painter, he was also a great master of drawing. Rubens' art, distinguished by a lively and powerful sense of nature and inexhaustible imagination, is full of various subjects, action, an abundance of figures and accessories, and pathetic gestures.
Creator of the Baroque He became the creator of a lively and exciting style artistic expression, later called Baroque. The bright, lush Rubensian style is characterized by the depiction of large, heavy figures in rapid movement, excited to the limit by an emotionally charged atmosphere. Sharp contrasts of light and shadow and warm, rich colors seem to imbue his paintings with ebullient energy. He painted crude biblical scenes, swift, exciting animal hunts, sonorous military battles, examples of the highest manifestations of the religious spirit, and he did all this with an equal passion for transferring the highest drama of life onto canvas.
Famous paintings Diana's return from the hunt, Dresden Picture Gallery, Germany Union of Earth and Water, State Hermitage Museum, St. Petersburg
Decline of Life “The history of art does not know a single example of such universal talent, such powerful influence, such indisputable, absolute authority, such creative triumph.” Rubens painted in order to give pleasure. With the help of his art, he tried to reflect the beauty of the world around him, of everything created in the world. A happy, deeply religious person, uniquely gifted by Providence.
Decline of life During his travels, Rubens became a widower. Upon returning to his native Antwerp in 1630, he married his friend’s 16-year-old daughter, Elena Furman. Life in rural areas brought Rubens closer not only to nature, but also to the peasants. It became more and more difficult for him to work every year due to progressive gout. In 1640 Rubens died. After restoration, a Rubens Museum was opened in his Antwerp house (in 1947).
