School Encyclopedia. Baroque painting style in the work of Rubens

Rubens, or rather Rubens (Rubens) Peter Paul, the great Flemish painter. Since 1589 he lived in Antwerp, where he received a comprehensive liberal arts education. Having early devoted himself to painting, he studied (since 1591) with Tobias Verhacht, Adam van Noort, Otto van Weenius. In 1600-1608 Rubens visited Italy, where he studied the works of Michelangelo, the painters of the Venetian school, 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, the desire to rework Italian impressions in the spirit of national artistic traditions was manifested. The monumental religious compositions “Exaltation of the Cross”, created by him in the early 1610s, circa 1610-1611, “Descent from the Cross”, circa 1611-1614, both in the Onze-liwe-Vraukerk Cathedral in Antwerp) are marked by theatricality characteristic of Baroque painting compositions, drama, violent movement, bright color contrasts.

At the same time, the features of a full-blooded, life-affirming realism are already guessed in them, which was fully revealed in the subsequent work of the artist. At the same time, Rubens executed several ceremonial portraits in the spirit of the Dutch traditions of the 16th century (“Self-portrait with his wife Isabella Brant”, 1609, Alte Pinakothek, Munich), distinguished by intimate simplicity of composition, loving thoroughness in recreating the appearance of the model and elegant attire, restrained by exquisite coloring. In 1612-1620, the mature style of Rubens takes shape. Turning to the themes drawn from the Bible and ancient mythology, the artist interpreted them with exceptional courage and freedom. The figures of people, ancient deities, animals, depicted against the backdrop of blooming and fruitful nature or majestic fantastic architecture, are intertwined in Rubens' paintings into complex compositions, either harmoniously balanced or permeated with violent dynamics. With a passionate “pagan” zest for life, Peter Paul Rubens recreates the full-blooded beauty of the naked human body, sings of the sensual joy of earthly existence (“The Union of Earth and Water”, circa 1618, State Hermitage Museum, St. Petersburg; “The Abduction of the Daughters of Leucippus”, circa 1619-1620, Alte Pinakothek, Munich). Gradually abandoning the local color characteristic of his early works, the artist achieved exceptional skill in conveying the finest gradations of light and color, air reflexes; warm and fresh tones of his paintings gently flow into one another, flesh-pink, pearl-gray, red-brown and soft green hues merge into a jubilant festive range. By the end of the 1610s, Peter Paul Rubens was widely recognized and famous.

The extensive studio of the artist, in which such major painters as Anthony van Dyck, Jacob Jordaens, Frans Snyders worked, performed numerous monumental and decorative compositions on orders from the European aristocracy, including the cycle of paintings “The History of Mary Medici” (about 1622-1625, Louvre , Paris) for the French royal court, in which Rubens combined mythological and allegorical figures with real historical characters. With exceptional skill and sensual persuasiveness, Rubens recreated the physical appearance and character traits of the model in the ceremonial portraits of this period (Maria Medici, around 1625, Prado, Count T. Erendel, 1620, Alte Pinakothek, Munich).

A significant place in the work of Rubens was occupied by the landscape: landscapes with mighty trees bending in the wind, towering hills, green groves and valleys, swiftly rushing clouds, he inhabited peacefully grazing herds, walking, riding carts or talking peasants. Imbued with a sense of the power of the elemental forces of nature or, on the contrary, the poetry of peaceful existence, distinguished by a bold dynamic play of chiaroscuro, freshness and richness of muted colors, they are perceived as a generalized poetic image of Flemish nature (“Carriers of Stones”, about 1620, “Landscape with a Rainbow”, about 1632-1635 - both in the State Hermitage Museum, St. Petersburg).

Intimate portraits of Rubens are especially virtuosic and lyrical, including “Portrait of the maid infanta Isabella” (circa 1625, State Hermitage Museum, St. Petersburg), in which he conveys the poetic charm and quivering vitality of the model with the help of transparent color transitions and soft reflections. Around 1611-1618, Rubens also acted as an architect, building his own house in Antwerp, marked by baroque splendor. In 1626, having lost his first wife Isabella Brant, Rubens left painting for a while and engaged in diplomatic activities, visited England and Spain, where he got acquainted with the painting of Titian, the works of Spanish masters.

In the 1630s, a new period of the artist's work began. He worked for a long time in the Sten Castle in Elewite, which he acquired, where he painted poetically inspired portraits of his second wife, Helen Faurment (“Fur Coat”, circa 1638-1640, Museum of the History of Art, Vienna), sometimes in the form of mythological and biblical characters (“Bathsheba” , circa 1635, Art Gallery, Dresden), scenes of village festivities (“Kermessa”, circa 1635-1636, Louvre, Paris), filled with rough realism and violent exciting cheerfulness, evoking similar compositions by Pieter Brueghel the Elder. The richness of decorative fantasy, the exceptional freedom and subtlety of painting are inherent in the cycle of projects of triumphal arches, executed by Rubens on the occasion of the entry into Antwerp of the new ruler of Flanders, Infante Ferdinand (1634-1635, State Hermitage Museum, St. Petersburg).

In the “Stenovsky” period, Rubens' painting becomes more intimate and sincere, the color of his paintings loses its multicoloredness and is built on the richness of colorful shades, sustained in a hot, emotionally rich red-brown range. The virtuosity of painting, the rigor and laconicism of artistic means marked the later works of the artist - “Elena Fourment with children” (circa 1636, Louvre, Paris, work not completed), “Three Graces” (1638-1640, Prado, Madrid), “Bacchus” ( circa 1638-1640, State Hermitage Museum, St. Petersburg), self-portrait (circa 1637-1640, Kunsthistorisches Museum, Vienna). Numerous drawings by Rubens are distinguished by fine observation, laconicism, softness and lightness of stroke: sketches of heads and figures, images of animals, sketches of compositions and others.

In the work of Rubens, powerful realism and a peculiar Flemish version of the Baroque style are clearly expressed. Comprehensively gifted, brilliantly educated, Rubens matured early and came to the fore as an artist of enormous creative scope, sincere impulses, bold daring, and stormy temperament. A born muralist, graphic artist, architect-decorator, designer of theatrical performances, a talented diplomat who spoke several languages, a humanist scientist, he was held in high esteem at the princely and royal courts of Mantua, Madrid, Paris, and London. Rubens is the creator of huge baroque pathetic compositions, sometimes depicting the apotheosis of the hero, sometimes full of tragedy. The power of plastic imagination, the dynamism of forms and rhythms, the triumph of the decorative principle form the basis of Rubens' creativity. Filled with passionate love of life, multifaceted and virtuoso in skill, the work of Rubens had a huge impact on the Flemish painters, on many artists of the 18th-19th centuries (Antoine Watteau, Jean Honore Fragonard, Eugene Delacroix, Auguste Renoir and other painters).

Peter Paul Rubens is the greatest genius of his time. His name is forever entrenched in the history of art. The artist with a capital letter, as you know, was also a wonderful person: handsome, smart, energetic and self-confident. An artist who during his lifetime did not doubt his work.

Childhood and youth

Peter Rubens was born on June 28, 1577 in the German city of Siegen. Although there are some disputes with the date of birth: the artist's biography has been rewritten more than once. His family emigrated from Belgium to Germany during the civil war that began in the Netherlands and the terror against the Protestants.

The artist's father, Jan Rubens, was a city judge in Antwerp, Belgium until 1568. His wife, Maria Peypelincks, raised four children. The whole family ended up in Germany, and at that time three more children were born. Among them was Peter Rubens.

The first eleven years of the painter's childhood were spent in Cologne. Father continued to work as a lawyer, mother - to raise children. The usual stability was shaken when a prominent and wealthy head of the family entered into a relationship with the wife of William of Orange, Anna.

After that, Jan Rubens was deprived of his property and the right to work as a lawyer, and Maria had to sell vegetables in the market in order to feed her children. From Cologne, Rubens, together with his wife and offspring, was sent to Siegen in 1573.

In 1587, Jan Rubens died from an illness. At the same time, Paypelinks lost several children. The widow of Rubens converted to Catholicism and returned to her homeland, to Antwerp. The children went to a Latin school.

At that time, changes were taking place in the city. It became impossible to continue to engage in trade due to closed sea routes. Each of Rubens' children had to find their place in life. The girls became the wives of wealthy husbands. One of the sons, Philip, followed in his father's footsteps, studying to be a lawyer. The elder Jan Baptist took up painting professionally.

Painting

In the 16th century, great changes took place in the art world. The Flemings invented paint for drawing, more convenient and practical. It is based on flax oil. This added brightness to the colors and increased the drying time. The pictures became deeper, and the work turned into a leisurely pleasure.

Peter Paul has been fascinated by art since childhood. From the age of 14, he learned the craft from local artists. The future painter learned the basics from the landscape painter Tobias Warhacht, who was related to him.

The second master in the life of Rubens was another relative: Adam van Noort. Peter Paul intended to get from the famous artist knowledge that was not obtained while working with Warhacht. For four years the student worked under the supervision of Noort. During this time, young Peter developed an interest in the Flemish atmosphere. This later affected his work.

In 1595, a new stage in the work of Peter Rubens begins. The next teacher is Otto van Veen (at that time one of the most influential artists). He is called the founder of mannerism and the main mentor of Rubens, whose talent acquired new facets during his studies.

Peter Paul Rubens did not paint in the manner of Veen, although his style had a great influence on the artist's worldview. The mentor became for him an example of versatility and education. Even in childhood, Rubens was drawn to knowledge, studied languages ​​(he was fluent in six languages) and the humanities.

Rubens took lessons from Otto Van Veen until 1599, and then, in the official status of a “free artist”, went to Italy in 1600 to improve his skills and admire the works of antiquity.

At that time, the painter was 23 years old, but he already had his own style, thanks to which, almost immediately, Peter Rubens was invited to the service of Vincenzo Gonzaga, the ruler of Mantua. The Duke was fond of ancient art, loved paintings of the Renaissance. Rubens often wrote copies for him.

Peter Paul spent eight years at the court of Gonzaga. It is believed that the service is a good decision for the artist, since the church authorities of that time began to oppose heresy in the paintings of contemporary artists.

During the time spent in Italy, the young painter visited Rome, Madrid, Venice, Florence. Carried out diplomatic missions.

In 1608, Rubens hastily returned to Antwerp after learning of his mother's death. He did not plan to leave for Italy: the loss seemed so heavy that the artist was thinking about leaving for a monastery. But Peter could not leave painting. In addition to numerous orders from wealthy residents of his native city, he received an offer to work at the court of Archduke Albert.

In Antwerp, the artist became one of the most sought after. He tried to keep up with the orders of the Archduke, paint the cathedral and paint pictures for hundreds of other residents of the city. In 1618, the masterpiece "Union of Earth and Water" appeared. It clearly expresses the influence of Italian artists on the style of the painter. It was believed that the main idea of ​​the canvas was the unity of Antwerp and the Scheldt River.

The volume of orders increased considerably and Peter Paul opened his own workshop. Now he, once a diligent student, shared his knowledge with young talents (such names as Jacob Yordane, Frans Snyders remained in history). Pupils carried out numerous orders of the townspeople. This eventually became a thoughtful system, a school of art.

Meanwhile, in 1620, another work of art appeared, the pinnacle of Rubens' creativity - "Perseus and Andromeda", the plot of which is connected with the ancient myth that Peter Paul was so fond of.

Closer to 1630, Peter Rubens was tired of a busy lifestyle. For some time he stayed in seclusion, creating another brilliant picture. "Three Graces" and "The Judgment of Paris" are the embodiment of the nature of their author. Rubens was always attracted by the beauty and plasticity of a voluminous female body.

"Susanna and the Elders" has become a classic of Flemish painting. The plot refers to the Old Testament. The paintings of Rubens, which belonged to the cathedrals, are associated with the Holy Scriptures (“The Last Supper”, “Samson and Delilah”), although his work covers a different area of ​​\u200b\u200blife - bright, lush, dramatic. Not all paintings of a church orientation were approved. One of these is the Exaltation of the Cross. She was considered very controversial.

The “Massacre of the Innocent” personifies the scene from the bible when Herod exterminated babies, fearing the coming. Biographers write that the author liked this work more than anyone else.

Another monument of the Baroque era is the awesome Medusa. The reaction of contemporaries to this picture justified the expectations of Peter Rubens. People were frightened by the frankness of the work. The artist was not indifferent to the political affairs of Antwerp.

His work has long been associated with politics, including Meduza, which the locals regarded as a sign of warning.

Peter Paul Rubens, thanks to paintings and diplomatic skills, managed to achieve peace between Madrid and London. The artist dreamed of influencing the course of the war in his native country, but he failed to do this. After numerous trips, the 50-year-old Rubens finally settled in Antwerp.

Personal life

After returning from Italy, Rubens married Isabella Brant, the 18-year-old daughter of an official.

The marriage was based on calculation, although the young girl surrounded Rubens with care and attention for 17 years. The first wife bore Peter Paul three children. She died of a heart attack in 1630.

At 50, Peter Rubens remarried. 16-year-old Elena Fourman is the last love of the artist, his main muse, the mother of five children.

Death

In 1640, Peter Paul Rubens fell ill. Due to age, the artist could not recover from the illness. The Flemish painter died on May 30 next to his children and his beloved wife Elena.

Artworks

• 1610 - "Exaltation of the Cross"
• 1610 - "Samson and Delilah"
• 1612 - "Massacre of the Innocent"
• 1612 - "Massacre of the Innocent"
• 1614 - "Descent from the Cross"
• 1616 - "The Hunt for Hippo and Crocodile"
• 1618 - "The Rape of the Daughters of Leucippus"
• 1626 - "Assumption of the Blessed Virgin Mary"
• 1629 - "Adam and Eve"
• 1639 - "The Judgment of Paris"

Garden of Love - Peter Paul Rubens. 1632. Oil on canvas. 198×283 cm

Before us is a painting by Rubens, written for himself, and not for sale. At the age of 53, the artist regains love for the very young, 16-year-old Elena Furman. After several years of widowhood, his life is again filled with joy and family harmony, despite the big age difference with his young wife. That is why the faces of all the women on the artist's canvas resemble the face of his beloved - beautifully contoured eyes, plump lips, scarlet cheeks, magnificent forms.

The appearance of both men in the painting is also reminiscent of earlier self-portraits by Rubens - both have Spanish beards and curly hair. Despite the fact that the artist depicted happy, peacefully resting people, the picture can hardly be called cheerful, on the faces there is a print of some thought, reflection. The master, as if trying to stop the moment, repeatedly captured himself and his young wife. Before us is not an ardent young man in the arms of a young lover, but a mature, wise life experience, and yet incredibly happy Rubens.

To match the lovers and the surrounding landscape - cupids flying over their heads, doves and, on the right side of the canvas, the temple of Juno, the ancient goddess, the patroness of marriage.

The finale of the picture can be considered a man and a woman on the right, descending the stairs - she is holding a peacock feather in her hands, like a seal of an accomplished marriage, he is about to touch a small dog with his foot, and, with a squeal, will bring everyone gathered out of a state of languid melancholy.

Portrait of the Marquise Brigitte Spinola Doria - Peter Paul Rubens. 1606. Oil on canvas. 152.5x99

Rubens is one of the most famous and prolific painters of the Baroque era, whose works are in all the major museums of the world. In many ways, this was facilitated by the artist's workshop, where numerous assistants performed large-format canvases with him. However, "Portrait of the Marquise Brigitta Spinola Doria" was completely painted by Rubens. It was created during the artist's stay in Italy.

Brigitta Spinola Doria came from an influential Genoese noble family Doria, whose representatives fought for the first roles in the state. She was married to Captain Spinola, commander-in-chief of the Spanish troops. For the creative heritage of Rubens, this portrait is distinguished by some rigor and restraint. The model is dressed in a heavy dress with a rigid corset, its flared sleeves resemble a metal knight's armor. The face and dress of the marquise are clearly drawn out, a whole image of an aristocrat is created. To show the high position of the person portrayed, Rubens shifted the compositional plans and placed a fragment of the architectural Ionic portico on the same level as the lady's face, as if elevating her above her subjects.

Portrait of the Maid Infanta Isabella - Peter Paul Rubens. Mid 1620s. Wood, oil. 64x48

Among the portraits of the great Flemish painter, this canvas occupies a special place. From the shimmering twilight, a young woman of the 17th century looks out in a black dress with a snow-white collar - a cutter. The picture is executed in restrained tones, built on the subtlest elusive transitions of colors. The brush of Rubens (1577-1640), usually wide and actively creating a form, here softly touches the portrait being created. The girl's greenish eyes slyly look at the viewer like a fox. The blond hairs, knocked out of the hairstyle, rebelliously curl at the temples, forming a soft and luminous halo around the face. However, skillfully written lips are tightly compressed, they are shackled by the rules of etiquette, not a single superfluous word will fly out of them. The mistress of this angelic, barely noticeable smile knows how to keep palace secrets. This work is not ceremonial, it is emphasized chamber and simple in composition. The portrait of a girl is made according to a drawing drawn from nature. There is an assumption that the features of the maid's face are similar to the face of Rubens' daughter, Clara Serena, who died early.

Evening landscape with a cart - Rubens. 1630-1640

The last decade of Rubens' life includes a small "Evening Landscape with a Cart". In terms of motive, it is as simple and realistic as the landscapes of the Dutch painters, led by van Goyen, painted in the same years, but the more clear is the deep difference between Rubens and these masters in their approach to their creative tasks.

The Dutch reveal the modest, inconspicuous beauty inherent in nature in its usual, I want to say "everyday" state. Rubens depicts a transparent copse on the bank of a stream, when the trees are illuminated by the golden-pink rays of the setting sun. Their lush, but light, sometimes transparent crowns, strong and slender trunks are shrouded in this radiance, like a fantastically beautiful outfit. Of course, the artist's fantasy is based on memories of what he saw in life itself, on impressions from real nature. But Rubens, however, is not limited to them. He enhances many times the poetic charm of what he saw, raising it to the world of art. The life-lover Rubens is unfamiliar with the "discord between dreams and reality." For him, the dream is real, and reality is fabulously beautiful. His works, such as this landscape, are the best confirmation of this.

Golgotha ​​- Rubens. Around 1640

The mysterious, gloomy night scene, illuminated by flashes of torches, is full of movement and dramatic experience. In Rubens's sketch of Golgotha, the confusion and anxiety of the early work disappeared. The content appears clarified as a high heroic tragedy. Crosses with Christ crucified on them and two thieves rise above the deserted, bare terrain. There are no warriors and executioners traditional for this plot, there are no grieving followers of Christ. All earthly ties between the three crucified and living people have been severed. Christ is already dead, and a strange, flickering, supernatural light pours out on his light, pale body, on the hill of Golgotha ​​and on the misty distance. Rubens makes fantastic lighting the vehicle of his experience, following the same path as such profoundly different artists as Rembrandt and El Greco.

Self-portrait with Elena Fourman and son - Rubens. Around 1639. Oil on canvas. 203.8x158.1

Against the background of the success of the Flemish painting of the XVI century. Rubens' art was like a real explosion of unbridled cheerfulness that infected all of Europe. In 1630, at the age of fifty-three, the artist married seventeen-year-old Helen Fourman and moved to live in the country. Since then, his pictorial language has been enriched with new sensual lyricism, most fully expressed in the portraits of his wife and children.

Here Rubens is depicted next to his young wife, whom he looks at with infinite tenderness, and with little Peter Powell. The picture seems to “tell itself”, revealing with even greater clarity the atmosphere of calm and love emanating from faces and barely outlined gestures.

The family is depicted against the background of a lovely garden (the prototype of the "garden of love"), full of symbolic details: the rose bush behind Elena is associated with love feelings, the parrot is a symbol of Mary's motherhood, while the caryatid on the left and the fountain are direct allegories of fertility. Thanks to the brightness of color and the effortless naturalness of the figures, this work is considered one of the masterpieces of Rubens.

Roses, painted with soft and light strokes, are undoubtedly a symbol of love. Since antiquity, the rose has been the sacred flower of Venus. There was a legend that her petals were white, until one day, in pursuit of her beloved Adonis, the goddess hurt her fingers on the thorns of a rose and stained it with her blood.

Four parts of the world - Peter Paul Rubens. 1612-1614

A prolific artist and energetic diplomat, Rubens traveled extensively and was friends with many European rulers; two of them elevated him to a knighthood. He was a highly educated person and often included symbols of ancient mythology in his pictorial allegories. Inverted urns are attributes of the ancient gods who lived in the rivers of 4 continents of the world: Africa, Asia, Europe, America. These river deities are shown resting under a canopy, surrounded by the attention of naked women. The tigress represents the Tigris River, and the putti play with the crocodile, symbol of the Nile.

CONTINENTS. The four continents were often depicted in the works of Baroque artists. An example is Tiepolo's huge ceiling fresco APOLLO and the Four Continents (c. 1750). Parts of the world have often been personified by river deities and may appear in paintings along with animals characteristic of these places or rely on urns from which water flows; a veiled head indicates that the source of the river is unknown. Africa can wear corals, be depicted with a sphinx, a lion or an elephant; America is dressed in a hunter's costume with a feather headdress, and the coins symbolize rich natural resources; Asia may be depicted with a camel, rhinoceros, elephant, palm trees, precious stones, or exotic perfumes, and Europe as a bull or horse, and she may hold a cornucopia or a crown of excellence, sometimes surrounded by figures representing the arts.

The Judgment of Paris - Peter Paul Rubens. 1639

Rubens has several paintings for this story: he was attracted by the opportunity to write three beautiful naked women against the backdrop of an ideal pastoral landscape.

In the version before us (1639), Paris is depicted in shepherd's attire, gazing intently at three magnificent naked women, whom he asked to take off their clothes so that nothing would interfere with judging their beauty. He admires the goddesses standing in front of him from different angles. Mercury holds an apple, which will be the winner's reward. Minerva (Athena) is depicted with an owl (her armor lies nearby), Venus (Aphrodite) is accompanied by her son Cupid, and Juno (Hera) is accompanied by a peacock. The meek appearance of the goddesses and graceful poses do not portend the fatal consequences of the decision that Paris must make and which led to the Trojan War.

PARIS. When the son of Paris was born to the Trojan king Priam, it was predicted that he would cause the death of his country. The father ordered to kill the baby, but the servant who was entrusted with this, left him on Mount Ida. Paris was found and raised by shepherds.

In the famous court, Paris was assigned the role of a judge who was supposed to present an award - a golden apple of discord - to the most beautiful of the goddesses. Juno offered to make him the most powerful of kings, Minerva the bravest hero, and Venus promised him the love of the most beautiful woman, Helen of Sparta. This influenced the decision of Paris and the prize went to Venus, but this decision caused resentment from Juno and Minerva. Paris decided to kidnap Helen. The Greeks, threatening Troy with war, demanded that she be returned. Thus, the Judgment of Paris became the cause of the Trojan War, which ended in the destruction of Troy.

Susanna and the Elders - Peter Paul Rubens. 1607-1608. Canvas, oil. 94x66

In the painting of Rubens (1577-1640), expression, drama and overflowing fullness of life were combined. These features of Baroque art were also reflected in his painting Susanna and the Elders based on a plot from the Book of the Prophet Daniel. In one of its chapters in the Greek translation of the Old Testament, it is told how two elders saw a pious woman while bathing and, threatening to accuse her of adultery, began to seek her love. Susanna did not succumb to persuasion and, allegedly because she had sinned with a young man, she was condemned to death, but the prophet Daniel proved her innocence.

Rubens more than once turned to this plot, using the opportunities provided by him, namely to depict a naked woman, which was one of the leading themes in the master's art, and to convey the sensuality that filled the scene of Susanna's bathing. The young beauty, whose tender body, thanks to the quivering, shimmering painting, shines, protruding from the semi-darkness, threw back her head and looked in horror at the elders. The contrast of lustful old age and blooming youth brings a touch of drama to the picture. But the author makes one feel the victory of chastity over base instincts: inner purity is expressed in him through physical beauty, which he perceived as something sublime.

Lamentation of Christ - Peter Paul Rubens. 1602. Oil on canvas. 180x137

Rubens (1577-1640), whose name is inextricably linked with the Baroque style, painted this painting during his first visit to Rome. He combined here the iconography of the pieta - the weeping of the Mother of God over the Son - and the position in the coffin.

Mary supports the deceased Christ, His body looks heavy, his head bows to his shoulder. Around are Saints Joseph of Arimathea, John the Evangelist and Mary Magdalene. The body of the Savior is depicted almost naturalistically, the rest of the characters are immersed in deep experiences. The tense atmosphere of the canvas is also created by the close staging of the figures, as was often the case in baroque art. The theme of the crucifixion of Christ is echoed by the reliefs on the sarcophagus with scenes of sacrifice.

The coloring of the work with its finest human flesh, bright color spots, stormy sky and illuminated foreground gives rise to a disturbing and at the same time sublime feeling. In the combination of realism with the solemn mood of the depicted, the influence on Rubens of the Roman artists of that time, and especially Caravaggio, affected.

Portrait of Helena Fourman with two children - Peter Paul Rubens. Around 1636. Oil on wood. 113x82

A prominent representative of Baroque art in Flemish painting, Peter Paul Rubens (1577-1640) became famous for both mythological and religious paintings and portraits.

The “Portrait of Elena Fourman with Two Children” depicts the second wife of the artist, who became his last love and was the native niece of his first wife. At the time of the marriage, Rubens was 53 years old, and Elena was only 16. The image of a young wife and children - Claire-Jeanne's daughter and Francois's son - breathes with the serene happiness of motherhood. Both mother and children are full of natural ease.

The work was left unfinished. Apparently, the master began to paint the hands of the third child over the seat of Elena's chair, but for some reason did not complete his plan.

Portrait of Isabella Brant - Peter Paul Rubens. About 1625-1626. Canvas, oil. 86x62

The artist who created many canvases on which abundant flesh reigns, Rubens (1577-1640) was at the same time the finest portrait painter. He wrote for the most part relatives and several times, such as, for example, his first wife Isabella Brant. This portrait was made by Rubens shortly before her death. After the death of his wife, he spoke of her like this in one of his letters: “Truly, I lost an excellent friend ... she was neither harsh nor weak, but so kind and so honest, so virtuous that everyone loved her alive and mourn the dead” .

But while the artist's faithful girlfriend is alive, he captures her young and attractive, with lively, intelligent eyes and a gentle smile. From Isabella, an invisible light seems to emanate. Rubens does not separate the carnal and the spiritual in man: the spirit wafts through matter. Therefore, the master tried in every possible way to emphasize the bodily beauty of his beloved, for example, he shaded her white delicate skin, as he often did, with a dark fur coat. The red background echoes the blush on the cheeks, and the necklace and lace create something like a precious setting for the wife so dear to the artist's heart.

Bathsheba at the Fountain - Peter Paul Rubens. 1635. Oak board, oil. 175x126

Rubens created a large number of paintings on biblical subjects. To understand the work presented here, it is necessary to know the biblical story, and the ingenuity of the artist in conveying its details is amazing. King David once “was walking on the roof of the royal house and saw a woman bathing from the roof; and that woman was very beautiful.” It was Bathsheba, the wife of Uriah the Hittite. In the upper left corner of the canvas on the roof of the palace, the figure of King David is barely noticeable, and Rubens showed Bathsheba behind the toilet on the platform leading to the pool. David seduced her, and Uriah sent her to certain death.

Attention is attracted by a luxurious young woman; Rubens was a great master of depicting the female body, and he created his own canon of beauty. Meanwhile, one cannot help but admire the ingenuity with which the artist conveys the subtle emotional moments of this scene: the surprised look of Bathsheba, who did not expect to receive a letter from the hands of a Negro sent to her (it is clear that the letter can only be a love letter), the reaction of the dog, grinning at the messenger and suspecting something was wrong (a dog sitting at the feet of a woman in the system of symbols of Renaissance and Baroque portraiture personified marital fidelity). And how delightfully the female figures, flowing water, clothes and architectural landscape are written out!

The Lady in the Straw Hat - Peter Paul Rubens. Around 1625. Oil on canvas. 79x55

Peter Paul Rubens (1577-1640) - the great Flemish artist, who embodied the vitality and sensuality of European Baroque painting like no other. Although he was famous for his large-scale works on mythological and religious themes, he was also a virtuoso master of landscape and portraiture.

The hat is such a characteristic detail in this work that the word "lady" is often omitted from its title. How many generations of viewers have heard, read in books, looked at a picture with this name, without “stumbling” over its absurdity! Is the hat here straw, especially with such a feather? Of course, this is a luxurious felt hat, fashionable in the 17th century. Rubens painted himself in it more than once. The mistake in the name arose in the 18th century in France, where in one of the catalogs of the artist’s works the canvas was written: “Le Chapeau de Paille” (“Straw Hat”). This, of course, is a typo: instead of "paille" there should be "poil" (from French - "felt").

The painting depicts a beautiful woman - Susanna Furman, the daughter of an Antwerp tapestry and silk merchant, who got married. The master painted her wedding portrait with a wedding ring, which attracts attention and could, like a hat, appear in the title as a distinctive detail of the work.

In 1630 Rubens married her younger sister Helena. He created an equally delightful portrait of his wife in a similar hat, where no one called her "straw"!

The artistic heritage of Rubens is boundless. Hundreds and hundreds of works - mythological and religious compositions, portraits, landscapes, small sketches and huge decorative canvases, drawings and architectural projects - all this would be enough for more than one human biography.

Peter Paul Rubens, the path to painting

The work of the Flemish master seems to be a grandiose book that tells about the beauty of man, about the power and greatness of nature. Rubens' art is a song of health and joy.

The great painter was born in a foreign land, in the German city of Siegen, where his parents emigrated to escape the terror of the Spanish enslavers. When, after the death of his father in 1587, the future artist moved to Antwerp with his mother, he found this rich city in complete desolation. Flanders, which, unlike Holland, remained under Spanish rule, slowly regained its strength. The dependent position of the country contributed to the rapid rise of national self-consciousness. But during the years of Rubens's teachings, Flemish art was still only striving to find ground under its feet.

The twenty-three-year-old artist takes a decisive step - he leaves for Italy for a long time, Leonardo, Raphael, Michelangelo, Titian, Caravaggio become his real teachers there, He studies their work, copies paintings, makes sketches of sculpture, Rubens' secular career begins from that time. We see him at the court of the Duke of Mantua, then in Rome. In 1603 he makes his first trip to Spain.

Returning to his homeland in 1608, Rubens quickly occupies a leading position in the artistic life of the country. His authority is indisputable. In the workshop of Rubens (where, in particular, Jordan and Van Dyck were trained), hundreds of huge canvases are made by order of the court, the nobility and churches. But Rubens still finds time to fulfill the diplomatic missions of the Spanish governors: he travels to Holland, France, and England. In Spain in 1628 he met the young Velasquez.

Place in history

As a diplomat, Rubens spent a lot of energy on establishing peace between the incessantly warring European powers. Disappointed, he was forced, and in the end, to leave the political field. But it gave the artist a knowledge of people and their weaknesses; Rubens "hated the courtyards."

The modern viewer can, perhaps, be chilled by Rubens' pompous canvases dedicated to the exaltation of sovereigns. Etienne Fromentin, the author of the book "Old Masters", likened them to a solemn ode - it was they who gained special fame during the life of the artist. But for us, the most valuable part of the Rubens legacy is the paintings he painted with his own hand, without the participation of the workshop. Art lovers in our country are well aware of the work of Rubens: the Hermitage has a rich collection of drawings and one of the best collections in the world, numbering more than forty of his paintings. Here, in the Hermitage halls, one can admire the vital energy of the images of the allegory "The Union of Earth and Water", feel the dramatic expression of the scene "Feast at Simon the Pharisee", enjoy the sonority of the colorful palette of the painting "Perseus and Andromeda" and the emotional Rubensian landscape.

Standing apart - not only in the Hermitage collection, but also in the artist's work in general - is his small Portrait of a Maid, one of the greatest masterpieces of world portraiture. There is not even a shadow of affectation in it, everything breathes with clear harmony, the colorful structure is restrained and noble.

Sooner or later anyone who is sensitive to art will find his way to Rubens. And then, according to Fromentin, “a truly amazing sight will appear before him, giving the highest idea of ​​\u200b\u200bhuman abilities.”

Then in the work of Rubens, the features of all these styles appeared: a realistic depiction of reality, inherent in the Venetian school; baroque sensibility; richness of colors and gestures characteristic of mannerism.
Rubens did not avoid mythological and religious themes, often turned to portraits and landscapes - in a word, he was a universal artist of his time.

From an early biography of Rubens

Peter Paul Rubens was born in 1577 in Siegen (Germany) in the family of the lawyer Jan Rubens. In this city, his father was exiled for his relationship with the wife of the Prince of Orange, Anna of Saxony.
The childhood of the future artist took place in Siegen, then in Cologne, and only after the death of his father the family returned to their homeland - to Antwerp (Flemish region of Belgium).
He received a law degree, but began to paint very early. He had several painting teachers, but the court painter Otto van Veen had a special influence on the formation of the future artist. Thanks to his wide erudition, Rubens became acquainted with the history and mythology of antiquity, the art of the Italian Renaissance, the art of illustration and engraving. After 4 years of study with van Veen, Rubens was accepted as a free master in the Antwerp Guild of St. Luke (1598), and in 1600 he went to finish his art education in Italy. In this country he was at the court of the Duke of Mantua Vincenzo Gonzaga(famous philanthropist, collector, patron of sciences and arts) during his entire stay in Italy.
The duke contributed to the cultural flourishing of the Mantua court: he was a connoisseur of theatrical art, and the famous court theater operated at his court. In his palace was the richest collection of works of art, which was world famous. Here Rubens first got acquainted with ancient monuments, saw the works of Titian, Veronese, Correggio, Mantegna, Giulio Romano. Rubens copied many of them, honing his skills.
Rubens never hesitated to imitate the artists who admired him (Titian, Pieter Brueghel the Elder) and others. His initial work is precisely an imitation of the artists of the 16th century. He mastered all the genres of Renaissance painting and then became the most versatile artist of his time.
In Mantua, Rubens replenished the local art gallery with portraits of courtiers.

P. Rubens "Portrait of the Duke of Lerma"

But the artist was not able to exist for a long time within the framework of the court painter, which were cramped for him. He was drawn to larger forms of creativity. He completed three large canvases on religious themes for the Jesuit church in Mantua, and with them he gained fame outside of Mantua.

Favorable for Rubens was the Roman period of his life and work (1605-1608). He was invited to Rome by his brother, a librarian under the Vatican Cardinal Ascanio Colonna. In Rome, Rubens completed the altarpiece for the church of Santa Maria in Valicella and for the monastery of the Oratorian order at Fermo. The return to Antwerp was due to the death of his mother.
Here he opened a spacious workshop in which apprentices worked, built himself a beautiful mansion, which was gradually filled with paintings, statues and works of arts and crafts and jewelry.

Rubens House in Antwerp

In the work of Rubens of this period, in addition to paintings with episodes of biblical history, scenes from ancient mythology began to appear more often (“The Battle of the Greeks with the Amazons”, “The Abduction of the Daughters of Leucippus”).

P. Rubens "The Abduction of the Daughters of Leucippus" (1618)

In this painting, Rubens used the myth of the Dioscuri brothers (sons of Zeus and Leda). They kidnapped the daughters of King Leucippus - Gilaira and Phoebe. In this plot, Rubens showed his abilities as an artist in depicting the plasticity of human bodies.
With strong hands, the young men pick up naked women in order to put them on horses. The light bodies of naked golden-haired women are skillfully compared with the tanned figures of dark-haired men. All figures are intertwined and form a compositional circle. Rubens' compositional solutions are always varied, and the richness of colors and gestures in his paintings is always impressive. A distinctive feature of his work is somewhat ponderous "Rubensian" female forms.
All the characters in this picture are also endowed with beauty, youthful health, dexterity, strength and lust for life.
In the 1610s Rubens began work on new genres for Flemish painting - hunting scenes that show the dynamics of movement.

P. Rubens "The Hunt for the Hippo" (1618)

In 1622, the Dowager Queen Marie de Medici summoned Rubens to Paris to fill two long passages in the new Luxembourg Palace with paintings from her life.

P. Rubens. Medici Gallery at the Louvre

In two years, he created 24 canvases (21 paintings from the life of the queen and 3 portraits). Subsequently, these paintings were transferred to the Louvre.

P. Rubens "The Coronation of Mary Medici" (1625)

In 1628, King Philip IV invited Rubens to Madrid so that he could see the richest collection of works by his idol Titian, and also copy them. In 1629, Rubens also performed the role of a diplomat - he was instructed to go to London to conduct peace negotiations with Charles I, which he performed with brilliance. In London, Rubens covered the ceiling of the Whitehall Palace banquet hall with allegories from the life of the monarch's father, James I. For these merits, the king knighted the artist, and the University of Cambridge made him an honorary doctorate.
In the late period of Rubens's work, landscapes began to attract more and more. In 1635 he purchased the estate of Elevait near Mechelen. Life in the countryside brought Rubens closer to nature, and to the life of the peasants whom he began to portray.

P. Rubens "Kermessa" (1638)

The picture depicts the daring element of the national holiday. This plot in Holland is called "country holiday" or "fair fair in the Netherlands." Pieter Brueghel the Elder also has a painting on this subject, but Rubens outdid him with greater intensity of passion and mass character.

Pieter Brueghel the Elder "Kermessa"

In the last years of his life, Rubens suffered from gout, it was hard for him to work. In 1640 he died.

About other works of the artist

In 1609, Rubens married 18-year-old Isabella Brant, daughter of the respected Antwerp patrician and Secretary of State Jan Brant. Despite her noble origin, she was a woman "nonsense and without the usual female whims, always well-behaved and cheerful" (from a letter from Rubens). The Rubens couple had a daughter and two sons. In 1626 she died suddenly.

P. Rubens. Self-portrait with Isabella Brant (c. 1609). Canvas, oil. 178x136.5 cm. Alte Pinakothek (Munich)

This painting was created by Rubens shortly after his marriage and depicts the couple in front of a honeysuckle bush. The figures of the spouses are depicted in the same size and side by side, which may mean their equal position.
The innovation of this portrait image lies in the fact that so far in the portrait genre no figures have been depicted in such a relaxed and free pose. This painting is considered a "portrait of marriage" - a young woman trustingly put her right hand on her husband's hand.
The landscape background seems to be the real environment for the location of the characters in the picture. The figures combine close color tones, especially golden ones.

P. Rubens "Portrait of the Maid of Infanta Isabella" (1623-1626). Wood, oil. 63.5x47.8 cm State Hermitage Museum (Petersburg)

The portrait depicts the court lady Isabella Clara Eugenie. It is believed that this picture is not entirely typical for the work of Rubens - it clearly appeals to the genre of psychological portrait.
Some researchers even doubt the authorship of Rubens (the work is not signed by the author), while others suggest that the artist depicted his eldest daughter Clara Serena on the canvas, who died by the time the canvas was created.
This is a chest portrait of a girl. The model is dressed according to Spanish fashion in a strict dark dress with a white ruffled collar.
The coloring of the picture is rather restrained and is built on the transition from a dark dress to warm colors of the face with a predominance of pearl-silver tones. The author focuses on the face and inner world of the girl. Large light green eyes and stray strands of blond hair give a special realism to the portrait. A slightly painful blush and a barely noticeable smile on the lips give the portrait a personal, intimate character.

P. Rubens "Descent from the Cross" (1612). Wood, oil. 450.5x320 cm Cathedral of Our Lady of Antwerp (Antwerp)

Triptych

The Descent from the Cross is the central panel of the Rubens triptych. This is one of the most famous paintings of the master and one of the greatest masterpieces of baroque painting.
The body of Christ is carefully and solemnly removed from the cross. There are two people above the cross, one of them still supports the body of Christ, and the apostle John, standing below, receives the body of Christ. The kneeling holy wives are ready to help John, and the Mother of God (depicted on the left), with her face as white as chalk, approaches Christ, holding out her palm to receive the body of her son. Joseph of Arimathea, standing on the stairs, supports the body by the arm. On the opposite side, another elder descends the ladder, releasing the corner of the shroud and passing his burden to John standing next to him. Most striking in the whole work is the figure of the dead Christ. The famous English painter of the XVIII century. sir Joshua Reynolds(1723-1792) wrote: “This is one of his most beautiful figures. The head that fell on the shoulder, the displacement of the whole body give us such a true idea of ​​​​the severity of death that no other can surpass it.