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- Herausgeber: Parkstone International
- Sprache: Englisch
- Veröffentlichungsjahr: 2011
Rubens
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Seitenzahl: 39
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Author: Jp. A. Calosse
© Confidential Concepts, worldwide, USA
© Parkstone Press International, New York, USA
ISBN: 978-1-78160-594-3
All rights reserved. No part of thispublicationmay be reproduced or adapted without the permission of the copyright
Jp. A. Calosse
LIST OF ILLUSTRATIONS
1.The Adoration of the Shepherds. 1608,
2.Self-Portrait. 1640,
3.Head of an Old Man. around 1609,
4.The Coronation of the Virgin. Around 1609-1611,
5.Virgin and Child in a Garland.
6.Roman Charity. Around 1612,
7.Christ with the Crown of Thorns(Ecce homo). Before 1612,
8.Jupiter and Callisto. 1613,
9.The Descent from the Cross. Around 1612-1614,
10.Venus and Adonis. Around 1614,
11.Three Graces Adorning Nature. 1615,
12.Statue of Ceres. Around 1615,
13.Bacchanalia. Around 1615,
14.Two Satyrs.
15.Drunken Heracles.
16.Hagar Leaves the House of Abraham. 1615-1617,
17.Portrait of a Young Man. 1616-1617,
18.Portrait of a Young Man.
19.The Head of the Franciscan. 1615-1617,
20.Albert and Nicolas Rubens.
21.The Descent from the Cross. 1618,
22.The Descent from the Cross.
23.The Union of Earth and Water. Around 1618,
24.Four Parts of the World.
25.Feast at the House of Simon the Pharisee. 1620 (?),
26.The Carters. Around 1620,
27.Lion Hunt. Around 1621,
28.The Garden of Love.
29.Portrait of Charles de Longueval. 1621,
30.Perseus and Andromeda. Early 1620s,
31.Portrait of Marie de’ Médici.
32.Marie de’ Médici Represented as Pallas. 1622,
33.The Coronation of Marie de’ Médici.
34.The Birth of Louis XIII.
35.The Entry into Lyons. 1622,
36.The Birth of the Dauphin. 1622,
37.The Coronation of the Queen. 1622,
38.The Death of Henri IV andthe Proclamation of the Regency. 1622,
39.Self-Portrait with his wife Isabelle Brandt.
40.Portrait of a Lady-in-Waiting to theInfanta Isabella. 1623-1625,
41.The Unification of Great-Britain. Around 1630,
42.Helene Fourment. 1630-1631,
43.The Vision of St. Ildefonso.
44.The Vision of St. Ildefonso. 1630-1631,
45.The Last Supper. 1631-1632,
46.Landscape with a Rainbow. 1632-1635,
47.Felicitations on the Arrival of theInfante Ferdinand in Antwerp. 1634-1635,
48.The Arch of Ferdinand. 1634,
49.The Temple of Janus. 1634,
50.Mercury Leaving Antwerp. 1634,
51.The Arch of Hercules. 1634-1635,
52.Bacchus.
53.Pastoral Scene. 1636-1640,
54.Landscape with Simon and Iphigenie. Late 1630s,
55.The Adoration of the Three Kings.
1.The Adoration of the Shepherds. 1608,
oil on canvas, 63.5 x 47 cm,
The Hermitage, St. Petersburg.
2.Self-Portrait. 1640,
Kunsthistorisches Museum, Vienna.
The name of the great seventeenth-century Flemish painter Peter Paul Rubens is known throughout the world. The importance of his contribution to the development of European culture is generally recognized. The perception of life that he revealed in his pictures is so vivid, and fundamental human values are affirmed in them with such force, that we look on Rubens’paintings as a living aesthetic reality of our own time as well.
One gains the impression that in the seventeenth century Rubens did not attract as much attention as later. This may appear strange: indeed his contemporaries praised him as the“Apelles of our day”. However, in the immediate years after the artist’s death in 1640 the reputation which he had gained throughout Europe was overshadowed. The reasons for this can be found in the changing historical situation in Europe during the latter half of the seventeenth century. In the first decades of that century nations and absolutist states were rapidly forming. Rubens’new approach to art could not fail to serve as a mirror for the most diverse social strata in many European countries which were keen to assert their national identity and had followed the same path of development. This aim was inspired by Rubens’idea that the sensually perceived material world had value in itself; Rubens’lofty conception of man, his place in the Universe, and his emphasis on the sublime tension of man’
