Rubensian women. Hymn to beauty

2024 Author: Leah Sherlock | [email protected]. Last modified: 2023-12-17 05:25

Rubens showed himself in historical painting, landscape, altarpiece, decorative painting, portraiture. It is about the paintings, which depict Rubens' women, that will be discussed.

Rubens's special attitude towards women

Father Rubens sympathized with Protestantism and fled from Flanders, fearing the massacre of the Duke of Alba. However, he entered into an intimate relationship with a high-ranking woman. Their relationship was revealed, and the death pen alty seemed imminent. However, his wife saved his life and obtained permission to settle in the small town of Siegen. Peter Paul was born there in 1577. Mother, a person of rare spiritual qualities, brought up in her son the ability to see the features of a lofty female ideal. This quality was characteristic of Rubens both in life and in his portrait art. Rubens' women are not only cheerful and playful, but more often full of restraint and tranquility.

Upbringing and education

All future successes of Rubens: in art, in sciences, in knowledge of languages, in diplomacy - were largely due to the cares of his mother. An inner desire led Rubens topainting. He completed his art education during a long stay in Italy. There he not only studied with all his usual pedantry, but also worked hard and fruitfully.

Genoa

The portrait of the "Marquise Veronica Spinola Doria", dating from 1607-1608, is undoubtedly the work of a mature master, which already fully reflects the concept of "Rubens' women".

The young woman was the daughter of the condottiere Ambrogio Spinola. Her portrait is supposed to have been commissioned by her fiancé in her wedding attire. A red carnation is visible in the hairstyle, which, as they believed at that time, protected from evil. Marquise is absolutely calm. The eyes look directly and vividly at the viewer, a restrained smile plays on the lips. The Republic of Genoa - a prosperous port, gave women many constitutional freedoms, it was a paradise for the fairer sex. The girl is accustomed to respect and worship. Her aristocratic bearing speaks of self-respect. Sitting on the back of an armchair, an exotic parrot was at that time a symbol of luxury and at the same time a motive for the sweet captivity of love. Knowing how the Genoese aristocracy treats sophistication and luxury, Rubens depicts with perfect skill the marquise's rich outfit - a luxurious silk dress and gold embroidery on it, as well as a brilliant, iridescent expensive pearl necklace. Peter Paul Rubens, whose paintings became a model of the Baroque portrait in Italy and subsequently throughout the world, gained confidence, creative authority and fame.

Antwerp

In it, Rubens' patrons becomeArchduke Albert and his wife Isabella. Rubens' women are full of inner freedom. An example is the "Ceremonial portrait of Isabella", solved in exquisite burgundy-golden tones.

The Archduchess is depicted in full growth. With the grandeur inherent in roy alty, she is full of calmness. Her light figure in a golden-brown robe embroidered with gold and silver stands out in relief against a maroon velvet background, which is framed by lighter draperies. She calmly placed one hand on a table covered with a patterned red tablecloth, and the other hand held a silver satin handkerchief. Lace cuffs and collar are carefully written out. Oval, with regular features, the face is full of dignity. A modest smooth hairstyle is crowned with a diadem. This is how her audience sees and Peter Paul Rubens, whose paintings combine theatricality and realism.

In the honeysuckle gazebo

Married, Rubens paints his portrait with his young and beloved wife.

In this picture, he not only shows restrained tenderness and respect, but also a clear prosperity and we alth. This is conveyed through the clothing of the young couple. Rubens' women appear to the viewer through the ideal image of Isabella. She is dressed in a long, wide burgundy satin skirt, from under which a blue underskirt peeks out. A lacy airy collar and a bonnet under a yellow hat complete the look. Precious bracelets and rings also emphasize the status and position of a young couple. They sit in a honeysuckle arbor, which mustbe associated with the Golden Age and earthly paradise.

Queen

Ceremonial portrait of Marie de Medici represents in all its glory the form of Rubens' women.

This youthful gray-haired lady is overweight by today's standards. But the second chin, a beautiful full neck, accentuated by a pearl necklace and pearl pear-shaped earrings, reveal the noble expression of her face. A high lace collar slightly reveals ample breasts. The blue-black dress and black headdress show the whiteness of the skin and the delicate blush that this royal person has retained. Her whole figure is placed on a simple golden-buff background, which does not interfere with a single detail - neither beautiful airy white cuffs, nor snow-white hands with beautiful long fingers. The picture is not overloaded with details, as is often the case with other works depicting Rubens' women. The master's paintings are always full of variety and expressiveness, but various techniques are used for this.

The art of Rubens forever glorified the Flemings, their cheerfulness, hard work, desire to use all the gifts allotted to man by nature.