Peter Paul Rubens

El ciclo que narra el proceso de la herida a la conversión de Ignacio de Loyola tuvo, desde sus orígenes, una destacada importancia para la Compañía de Jesús, pues supuso el segundo nacimiento de su fundador. La génesis de los tres tipos iconográficos que componen este ciclo –Vulneratur, Sanatur à S. Petro y Legit libros pios– hay que buscarla en la Vita escrita por Pedro de Ribadeneyra (1572) y en su posterior difusión gráfica a través de las obras de Pieter Paul Rubens (1609) y los hermanos Galle (1610). Tras la canonización de san Ignacio, los domicilios jesuíticos se llenaron de series pictóricas que, en muchos casos, incluían representaciones de estos tipos iconográficos, las cuales buscaban propagar la devoción por el santo y mostrarlo como modelo a imitar.

The cycle that narrates the process from the wound to the conversion of Ignatius of Loyola had, from its origins, a decisive importance for the Society of Jesus, since it was understood as the second birth of its founder. The genesis of the three iconographic types that form this cycle –Vulneratur, Sanatur à S. Petro and Legit libros pios– must be sought in the Vita written by Pedro de Ribadeneyra (1572) and in its subsequent graphic dissemination in the works of Pieter Paul Rubens (1609) and the Galle brothers (1610). After the canonization of St. Ignatius, Jesuit residences were filled with pictorial series that, in many cases, included representations of these iconographic types, which sought to spread devotion of the saint and depict him as a model to imitate.

The famous Flemish artist, praised by all the scholars of the period, amongst whom Bellori and Baldinucci, was fundamental in determining the evolution of the Baroque period, opening the way to making the typical language of the Counter-Reformation widespread over Europe: solemn and magnificent, intended to instill awe with its dizzying perspective and mass of gestures.

Several series of Sibyls, of variable number and quality, that have been
previously attributed to different painters within Peter Paul Rubens’ circle, in foreign and Spanish collections, as well as in the art market, are here claimed to be by the hand of the Flemish master Jan van den Hoecke. The persistent confusion both in terms of attribution and identification of the subject matter is clarified in this paper, following on from Hans Vlieghe’s 1990 evidence. Tracing the now dispersed series as far as possible, the present article pays special attention to the eleven canvasses at Tessé Museum, Le Mans, as they appear part of a unique ensemble that still remains undispersed. For these series Jan van den Hoecke created an original iconography, with no formal precedents. Comparison of the different versions allows for a deciphering of the Latin texts accompanying each depiction, and for an identification of their literal sources. Judging by the numerous versions, the series of Sibyls must have rewarded the artist with great success, a demand that he
satisfied with a changeable effort.

La autoría del pintor flamenco Jan van den Hoecke se reivindica en varias series de Sibilas, de variable número y calidad, atribuidas a otros pintores de la estela de Peter Paul Rubens en colecciones españolas y extranjeras, así como en el comercio del arte. Tanto las atribuciones como la identificación de los asuntos son objeto de una gran confusión que persiste y se esclarece en este artículo, en base a lo avanzado por Hans Vlieghe en 1990. Se sigue la pista de los diversos ejemplares hoy dispersos en la medida de lo posible, prestando especial atención a los lienzos del museo de Tessé de Le Mans, por ser el único ejemplo existente de una serie que se conserva unida. Jan van den Hoecke fue el creador de una iconografía original que se distancia de los precedentes formales. La comparación entre los diferentes ejemplares permite descifrar los textos en latín que acompañan cada representación, precisando sus fuentes literarias. A juzgar por la elevada cantidad de versiones localizadas, es tema que le proporcionó éxito y demanda que satisfizo con esfuerzo cambiante.

Title: Figuring Faith and Female Power in the Art of Rubens
Author: J. Vanessa Lyon
Series: Visual & Material Culture, 1300-1700
Publisher: Amsterdam University Press

Figuring Faith and Female Power in the Art of Rubens argues that the Baroque painter, propagandist, and diplomat, Peter Paul Rubens, was not only aware of rapidly shifting religious and cultural attitudes toward women, but actively engaged in shaping them. Today, Rubens’s paintings continue to be used -- and abused -- to prescribe and proscribe certain forms of femininity. Repositioning some of the artist’s best-known works within seventeenth-century Catholic theology and female court culture, this book provides a feminist corrective to a body of art historical scholarship in which studies of gender and religion are often mutually exclusive. Moving chronologically through Rubens’s lengthy career, the author shows that, in relation to the powerful women in his life, Rubens figured the female form as a transhistorical carrier of meaning whose devotional and rhetorical efficacy was heightened rather than diminished by notions of female difference and particularity.

Download Table of Contents & Intro: https://assets.ctfassets.net/4wrp2um278k7/5ZvX0DCvTsh2XeHP5SpoAy/6364a537ac0e62749047271c8b372ce0/9789048536665_ToC_Intro.pdf

In de collecties van het Koninklijk Museum voor Schone Kunsten in Antwerpen (KMSKA), het Groeningemuseum in Brugge en het Museum voor Schone Kunsten in Gent (MSK) treft men een select aantal schilderijen dat gemaakt werd door gerenommeerde Italiaanse schilders. Ze verschillen danig van elkaar, zowel qua stijl, formaat, functie als thema. Elk heeft zijn kunsthistorische en esthetische waarde. Ze zijn uniek en onmisbaar en om die redenen werden ze gekwalificeerd als Vlaams Topstuk.

Rubens as an avid reader had most probably read Franciscus Junius to whom he sent an elaborate thank you letter for receiving "De Pictura Veterum," in itself a linguistic artwork. A close reading of Rubens's letter reveals how deeply Rubens had understood Junius's scholarship and writing.

Analysis of a head study drawing by Rubens, relating it to similar drawings, and sheets of similar drawings with images of existing trony oil paintings by Rubens and Van Dyck, and offering a possible function for the drawings as a memory exercise.

ENGLISH BELOW

NL: Dit werk, gemaakt in het kader van de tweedejaarsoefening, beschrijft de rol van de Antwerpse stadsarchivaris Pieter Génard (1830-1899) in de organisatie en het verloop van de Rubensfeesten van 1877. Deze Rubensfeesten moesten een week lang de 300ste geboorteverjaardag van 'hun' wereldberoemde schilder Pieter Paul Rubens doen herinneren.

ENG: This work, made in a second-year course, focuses on the role of the Antwerp cityarchivist Pieter Génard  (1830-1899) in the organisation and the course of the so-called 'Rubensfeesten' (Rubensfestivities) of 1877. The 'Rubensfeesten' were a week of festivities in the Belgian city of Antwerp conmemorating the 300th birth anniversary of 'their' world-famous painter Pieter Paul Rubens

The version of Brouwer's Baroque master piece 'The Bitter Potion' in the Stadel Museum, Frankfurt is NOT the original but merely a copy, probably of a much later date. The original was shown at an exhibition in Ghent in 1953 and is presently in a private collection.

Gli anni che Rubens trascorse in Italia dal luglio del 1600 all’ottobre del 1608 sono attestati da più di duecento documenti, oggi dispersi in sedici archivi diversi, suddivisi tipologicamente in lettere, contratti e fonti letterarie a lui coeve. Tale documentazione, ritrovata, trascritta e soprattutto tradotta in lingue differenti a partire dalla seconda metà dell’Ottocento fino ai giorni nostri, non è mai stata sistematizzata nella sua complessità cronologica e di intreccio.

Il pittore teneva una fitta corrispondenza con il fratello Philip, cui era legato anche da una visione filosofica e umanistica della vita, e con gli amici fiamminghi, con quelli italiani, con gli spagnoli e con chiunque venisse in contatto con la sua empatica personalità. Gli anni italiani furono per Rubens una scacchiera su cui giocare con lealtà e furbizia, con un occhio alla pittura e all’antico e un altro all’economia più spicciola. Il pittore leggeva e scriveva in fiammingo, in latino, in greco, in italiano, in spagnolo e manteneva stretti legami sia con la sua terra sia con le persone più influenti che incontrava nel suo peregrinare, in quegli anni, tra Venezia, Mantova, Firenze, Roma, Padova, Genova, Valladolid e Madrid. Questo volume raccorda tutti questi documenti per ritessere quella grande rete che Rubens aveva intelligentemente intrecciato in otto gloriosi anni.

Music for the 'Iron Era': Rubens, Seneca and Monteverdi's Eighth Book of Madrigals - In the preface to his Libro ottavo, Monteverdi presents an aesthetic and genre-theoretical concept that involves, on the hand, a new composing style - concitato genere - and, on the other hand, aims for a contrasting and symmetrically organised formal structure in which madrigali guerrieri and madrigali amorosi are placed in opposition. The essay attempts to relate this concept to the work of the contemporaneous painter Peter Paul Rubens and the reception of the Stoic philosopher Seneca. Whereas Rubens thematises war and love in his pictures and adopts a clear pacifist position, Seneca presents a theory of the war-triggering affect of anger, which Monteverdi's concitato genere attempts to portray.

Il libro parte dal presupposto, formulato da Giulio Carlo Argan, che per studiare l’arte di una città bisogna prima conoscerne la storia. Fermo non ebbe mai una stabile signoria, che avrebbe potuto fare della città un’importante corte rinascimentale, ma le grandi famiglie dell’oligarchia cittadina, arricchitesi a partire dal XV secolo con il commercio di prodotti agricoli, investirono parte delle loro ricchezze in importanti commissioni artistiche. Anche gli Ordini religiosi attestati in città Agostiniani, Minori, Predicatori, Osservanti, Carmelitani, Filippini e Gesuiti, portarono a Fermo gli stilemi più innovativi della pittura europea: dalla scuola giottesca a quella barocca. Così i Fermani hanno potuto acquisire un notevole patrimonio artistico, che per essere meglio apprezzato deve essere studiato in rapporto alle vicende storiche cittadine.

The seven newly identified paintings restituted here to Cornelis Schut are important additions to his Catalogue
Raisonné, published in 1996. Following a discussion of the artist’s significance and relation to Rubens,
the author traces his oeuvre in Spain in the past and present. Among these works, a signed and heretofore unknown
Virgin and Child with St Anne that better relates to the print by Eynhoudts than the known replica in
Namur. Other works with incorrect attributions in Belgian collections are restituted to the artist as well: two
replicas in St. Gertrude’s College in Nivelles, a canvas in Pipaix, a St. Gertrude on her death bed, displaying
an interesting iconography, in the church of Mechlinia, and two compositions of the Assumption of the Virgin,
one corresponding to the known preparatory drawing in Warsaw, and the other to an engraving by Eynhoudts.

Говорить об ошибке в когнитивной эволюции Homo позволяет наблюдаемая в прогнозе реальность и многовековой опыт жизнедеятельности человечества: ни обширное научное знание, ни фундаментальные духовные учения, ни гуманистическая технологизация не изменили взаимоотношений человека с окружающей реальностью и метавоздействия на действительность.  Пока что наша когнитивная эволюция носит характер стихийного бедствия, которое терпит человечество и среда его обитания, как результат прямого воздействия человека, уже более 5 столетий к ряду (становление классической науки).

La Parroquia de Santa María de las Nieves de Olivares (Sevilla), tuvo rango de Iglesia Colegial gracias al valido Don Gaspar de Guzmán, más conocido como el Conde-Duque de Olivares, por lo que debido a esta circunstancia atesora un notable patrimonio artístico. No obstante, tam- bién custodia una joya del patrimonio bibliográfico, un ejemplar del Misal Romano de 1616 realizado en Amberes en la imprenta Plantin- Moretus, puesto que tras consultar distintos catálogos en línea no hemos encontrado ninguno en CCPB, y los únicos ejemplares localizados se hallan en la Catedral de Peterborough (Reino Unido), gracias a Karlsruhe Virtueller Katalog y a COPAC, y en la Biblioteca de la Universidad de Amsterdam. Este misal plantianiano de 1616 y más concretamente las ilustraciones que contiene serán el objeto de nuestro estudio, puesto que fueron realizadas según diseños del pintor Peter Paul Rubens y llevadas a la calcografía por el grabador Theodore Galle, por lo que analizaremos tanto la vinculación de los dos artistas con la imprenta Plantin-Moretus, así como la influencia de dichas ilustraciones en la obra de Rubens.

Rembrandt, Rubens, Permoser: Glory and Splendour of Baroque Art Collections in Leipzig. Notes on the History of Collecting in Leipzig around 1700

The history of art has largely ignored the city of Leipzig. When studing early modern collection practice in Saxony, interest is traditionally oriented to the important electoral collections in Dresden. This finding is even more noteworthy since earlier studies have shown the considerable level and great diversity of the former civic collecting culture in Leipzig. Thus, over 90 collections with more than 100 collectors can be found from the beginnings, documented already in the 16th century. The collectors included wealthy bankers and merchants as well as pharmacists, scholars, and even artists. The article takes this academic lacuna as an opportunity to highlight the long history of private art collecting in Leipzig. It surveys a range from the early baroque "Wunderkammer" to esquisite 18th-century collections of paintings, prints, and drawings.

"During the late seventeenth and early eighteenth centuries, pioneering books on art theory— by Richardson, Piles, Lairesse, and many others—formulated benchmark criteria to assess the quality of paintings and shaped a canon of favorite masters, schools, and subjects. Less is known about the actual appropriation of this high-brow canon by laymen art lovers, amateurs, and connoisseurs. Flemish and Dutch travel diaries are used in this article to unveil more details about these middlebrow art observations. Was a long and expensive Grand Tour the sole vehicle for close encounters with the arts? How did laymen's interest and discourse about the arts evolve over the long run? Finally, the study attempts to reconstruct the Netherlandish "common" taste for individual masters, schools, genres, and periods.
"

This article examines the changing approach towards the representation of the senses in 17 th-century Flemish painting. These changes are related to the cultural politics and courtly culture of the Spanish sovereigns of the Southern Netherlands, the Archdukes Albert and Isabella. The 1617-18 painting-series of the Five Senses by Jan Brueghel the Elder and Peter Paul Rubens as well as the pendant paintings on the subject are analyzed in relation to the iconography of the five senses, and in regard to Flemish genre themes. In this context, the excess of objects, paintings, scientific instruments, animals, and plants in the Five Senses are read as an expansion of the iconography of the senses as well as a reference to the courtly material culture of the Archdukes. Framing the senses as part of a cultural web of artifacts, Brueghel and Rubens refer both to elite lived experience and traditional iconography. The article examines the continuity between the iconography of the senses from 1600 onwards, as developed by Georg Pencz, Frans Floris, and Maerten de Vos, and the representation of the senses in the series. In addition, the article shows how certain elements in the paintings are influenced by genre paintings of the courtly company and collector's cabinet, by Frans Francken, Lucas van Valckenborch and Louis de Caullery. Through the synthesis of these two traditions the subject of the five senses is reinvented in a courtly context.

En el presente trabajo vamos a estudiar la figura de Peter Paul Rubens desde una triple faceta: pintor, erudito y diplomático. Pintor con un estilo singular que realizó algunas de las obras más relevantes del Barroco y de toda la Historia del Arte. Erudito que profundizó en el conocimiento de los distintos saberes y especialmente de la Antigüedad clásica, así como la teoría del arte; gracias a lo cual contribuyó a la valoración de la pintura como arte liberal y el pintor como intelectual y no como mero artesano; diplomático que se movió con soltura en los ámbitos cortesanos, interesándose y participando de lleno en los asuntos políticos de su tiempo y trabando amistades con altas personalidades e incluso monarcas. Como, según un manido pero cierto dicho, una imagen vale más que mil palabras, mostraremos todo lo dicho a través del ejemplo concreto de una pintura, El rapto de Proserpina. Esta obra está realizada en óleo sobre lienzo y mide 181 x 271’2 cm . Aparece en el inventario de la Torre de la Parada realizado en 1700, bajo la rúbrica de pieza 6ª, núm.84, descrita como “Otra del mismo tamaño y mano, el robo de Proserpina tasado en cuatrocientos doblones” . Sabemos que en 1772 se encuentra en la antecámara de la infanta en el Palacio Nuevo, y en 1794 en el cuarto del infante don Pedro. En 1796 pasa a formar parte de la Academia de Bellas Artes de San Fernando, y en 1827 ingresa en el Museo del Prado, donde la podemos contemplar en la actualidad.