Rubens [antikvár]

Rubens Unlike many of the della Francesca. C RubL'ns enjovtîd Gnornions person; maturity. His hish position in thi sectn-e and lias been recosnined iliaa never boon a period wl,en soi -od. To countless artists Watteai cnco. Gcricault. Delacroix, Renoir 1 inspiration. Yet one suspects lie the general public the way, for oxa are popular today. It is well Itnow. Î on Rubons do not eiisily sell! s customary to describe the art of fanii leless'. and much of Rubens's worli. di an idealizing and rbetori the case especially well. But it is a di because it too easily implies some kind c broken freeofthe usual circumstance. In Rubens's case truth. He was supremely painting that he and his pi but because what h requirements of rich seventeenth century. But their needs are not our needs. Pi of the martyrdom of saints are no longi priorities, with the result that we loc ngle, and often see only one n Andersen was in Brussels, wh' irs who are so admired today Pie Vonneer. Constaljle, Van Gogh anal success tliroughout Iiis years story of European painting sucli sin. ofagn c perso Then admi Lawr ofrer with Gogh book! I absti his own lifetime tofhisartwasnol lorough, Reynolds, shaslieenasourcc las never been truly pc mple. Michelangelo )wn among ijublisht e aspecl Gainsli Rubeni lopula r Vai Î tha iilii nastersofthcpasti g with grand visui cal way, would seem t mgerous adjective to u! if gri ndiose í that h! imposed by training, talent and ;hing could be further from the iful not because he created a type of s thought would last for 400 years, did produce met, very precisely, the stomers in the first four decades of the ofcla different Ohl Kubens collectioi his diary; 1 find bleached tresses blondes are wha mentioned; it is an currency. 'The weigh! made her gracefully Rubensesque.' Thus wrot Yorker, of Elizabeth Tayf 1 myths and high in our list of aesthetic ik at Rubens from a very thing. Early in 1843, Hans he went to see the large in the Gallery. '1 don't like Rubens', he wrote in ihose fat, blonde women with coarse faces and ¦ery boring.' Whether we like them or not, fat come to mind when the name of Rubens is ,hat has passed into general so i The emph, Rubens's caree: of the female sketches that a terms with Rubens ii which only represei we may fail to grasp were inextricably b his genius, which w that career, Rubeni well organized: all artistic genius hi id fami ISSOCli she has put on voluptuous; she's rote Pauline Kael in Zee and Ct itandable bui ire not primar any more than on :lmired today. The n lat if we approach hi th. too film mpan has ly ha ;he li 5 ha rd-boiled t itic of the ts a rehitively the essence of his und up together, ss partly conceri was shrewd, pr.-the qualities thr deadingly ill pai His Ci led wi' ;ally mislei ed on his m! ndscapes ar 1 problem in com ihrough wl ichieve e direc like lent »hieb :idv. depicted himself (Plates 19 and 64) not as gentleman: he was officially employed < the full confidence of powerful figures i energy of his imagination and the buoya may still be greatly admired, but his care ifb id hi career gi »ith thi al. optinii e Romani us to des working painter but .as a 1 a diplomat and enjoyed 1 Church and State. The it freedom of his painting ir was not about fi'eedom. d upremely ¦th of the n art. He It was about c ontrol: col atrol of the in: lago, ofth e imaginatioi thoughts of thi 2 spectatoi ¦ through the i .mage, an( I control of a la'rgl studio capable ! of produe ;ing and often duplicat: ing that imag We are ac customed to the idea of artis ,ts struggliuf ! foi recognition in garrets ii 1 bohemian P: aris. As a child Rubeni î hat been a page i: n a noble household, ai ad he tra ined himself to b( familiar with the corrid. ors of power i uid with 1 the minds of i thosi influential beings leading off that i became what we i always to be found in the ¦ell-appointed and rewardi ¦ould call an 'Establishmo art suited the Establish] man profoundly in tune about life, politics, religi whole of the official side id beci with the way on and art. Tl if Rubens's ca palai ig th Figur very la) allegori ;e altarpieces (Plates 3 (Plate 72) and huge 22 1 ¦able indc ught seem tol drawings what brc 1621, he wrote; of England is such that subject, has which then combined, perhaps bette to us when a il sketches (Pk )ut the essence Ta letter (hintir :he decoration < idertaking, h behind th he Establish! ! essential poi ler, the produ 1 84), historii decorative schemes th iproaehed through th tes 23, 48, 68 and 85), ' of his genius. When, S at his readiness to wo ifWIiitehnll Palace) tl it eti my courage', he 1 high degree of tn ny other ni IS makir Peter I-er has e- 1 apartments oughfare. He i' because his at art, w.as a nent thought nt is that the ction of often es (Plate 46), at often only e medium of Aias precisely in September rk for.liimes I lat 'my talent diversified in ing a boast in I Rubens ality with all the effii on 28 .i ns, w

Termékadatok

Cím: Rubens [antikvár]

Kiadó: Phaidon Press Limited

Kötés: Varrott papírkötés

ISBN: 0714817961

Méret: 290 mm x 400 mm

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