MHC project portrait art of Peter Rubens. Project on MHC portrait art of Peter Rubens in the art of the Renaissance, and

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The outstanding Flemish painter Peter Paul Rubens (1577-1640) was a man of rare genius, who possessed all the virtues so necessary both for great achievements in art and for success in society - a powerful intellect, vigorous energy, good health, pleasant appearance, an amazing gift of harmony and, in addition, a clear head for creative and business activity. Rubens was a happy artist who knew no doubts or disappointments in his work. Most of all, he was delighted by the malleable, plastic beauty of the human body. Whatever he painted - a blond Venus surrounded by nymphs or a pensive Mother of God with a child in her arms, an allegory of powerful figures shining with light on the clouds, a fertile landscape near a house - his work was always a hymn praising the beauty of our world. “The history of art does not know a single example of such universal talent, such powerful influence, such indisputable, absolute authority, such creative triumph,” one of his biographers wrote about Rubens.

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Peter Paul Rubens was born on June 2, 1577, far from the homeland of his ancestors, in the small Westphalian town of Siegen in Germany, where his father, Antwerp lawyer Jan Rubens, fled with his family, seeking salvation from the brutal terror of the Duke of Alba, who was persecuting Protestants. The future painter spent his childhood in Cologne, where he, in his own words, “was raised until the age of ten.” Only after the death of her husband in 1587, Maria Peypelinx was able to return with her children to Antwerp. Here eleven-year-old Peter Paul and his older brother Philip were sent to a Latin school. Peter Paul, who increasingly felt an irresistible attraction to art, began to study painting from Antwerp artists at the age of fourteen. A trip to Rome gave Rubens a lot. The execution of both orders (a version of a large painting for the main altar of the Oratorian church of Santa Maria in Vallicella and “The Adoration of the Shepherds”) allowed the young Fleming to become one of the first painters of Rome. In an effort to comprehend the laws of monumental composition, Rubens, along with Renaissance monumental painting, carefully studied ancient plastic art, making numerous studies and sketches from the monuments that struck his imagination. Moreover, even then, when copying, he looked for in each statue a living model that served as its prototype.

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In search of his own monumental style, the artist also did not ignore the experience of his contemporaries - Annibale Carracci and especially Caravaggio. Rubens was generally distinguished by a keen sense of his era, its needs, and he peered closely at the achievements of the artists working next to him, not missing any of the new works of art. Rubens' stay in Italy ended suddenly: having received news of his mother's fatal illness in the fall of 1608, the artist hurried to Antwerp and never returned to Italy. Rubens married in 1609 eighteen-year-old Isabella Brant, the daughter of the secretary of the Antwerp magistrate, scholar-lawyer and humanist Jan Brant. The very first years of his stay in Antwerp became a time of universal recognition and the victorious triumph of his art. The first major order Rubens received upon returning to his homeland was the large painting “The Adoration of the Magi”, the artist’s debut in his hometown, and especially his execution of two huge triptychs - “The Raising of the Cross” and “The Descent from the Cross” quickly brought the master’s name to the forefront , as a leading painter of Antwerp.

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Already in 1611, according to the Antwerp merchant Jan le Grand, Rubens was called “the god of painters.” As if competing with each other, contemporaries composed one after another odes in honor of the artist. The unusual success of Rubens, which his very first Antwerp works brought him, which positively amazed the artist’s fellow citizens with their monumentality, expression and drama, unprecedented for the Flemings of that time, could not help but attract numerous students to him. As a court painter, Rubens could have an unlimited number of assistants and students. However, there were so many people willing to join his workshop that he was forced to decline many requests. Rubens's workshop was indeed the best vocational school in Flanders at that time, for Rubens knew how not only to teach the craft, but also to develop the individual inclinations of each of his students. However, the organization of a large workshop posed other tasks for Rubens. The most important among them was for the artist to systematize the main laws of his art and to develop a universally valid artistic language. The solution to this problem was precisely the main content of the works of the so-called “classicist period” of Rubens’s work, that is, 1611-1615 - the first years of the existence of his workshop.

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In those years, Rubens made his heroes almost exclusively people who were beautiful in body and strong in spirit. The artist was fascinated by lofty examples of perseverance, the unbrokenness of the human spirit (“Christ in the Crown of Thorns”), the heroic principle in man, his ability to achieve feat (“Paternal Love of a Roman Woman”). In search of themes and images for his paintings, he especially willingly turned at that time to his beloved antiquity, inspired, however, not only by literature and mythology, but even by specific monuments of the fine arts of antiquity. He became the creator of a lively, excitingly vibrant style of artistic expression, later called Baroque. Rubens' paintings anticipated the widespread use of the Baroque style by artists in other European countries by almost half a century. The bright, lush Rubensian style is characterized by the depiction of large, heavy figures in rapid movement, excited to the limit by an emotionally charged atmosphere. Sharp contrasts of light and shadow and warm, rich colors seem to imbue his paintings with ebullient energy. He painted crude biblical scenes, swift, exciting animal hunts, sonorous military battles, examples of the highest manifestations of the religious spirit, and he did all this with an equal passion for transferring the highest drama of life onto canvas.

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Monuments of ancient art, sketches from which Rubens brought with him from Italy, more than once served him as a source of creative inspiration. Demonstrating the greatness of man, Rubens acted as a worthy successor to the great masters of the Renaissance, and by depicting him at the mercy of instincts and passions, the painter in many ways turned out to be a pioneer, significantly expanding the range of shades of human emotions and affects available for reflection in art. His religious painting was alien to the abstraction of church dogma. Thus, the basis for the painting “The Feast of Simon the Pharisee” (circa 1618), a popular gospel plot in painting of the 16th-17th centuries, served the artist only as an excuse to convey the intensity of passions, the stormy clash of various human characters.

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Engraving Wanting the engravings created from his paintings to stylistically correspond to the originals, conveying in gradations of black and white all the features of his painting, or, in other words, demanding the “effect of a painting” from the engraving, Rubens carefully followed the very process of creating preparatory drawings intended for engraving . He usually involved students and assistants in his painting workshop in their production. Rubens's activities throughout the 1620s are striking in their versatility. Just the list of its main directions testifies to the truly Renaissance richness of his nature. He supervises the work of engravers and painters in his extensive workshop, designs books of a wide variety of contents for the Plantin publishing house, makes cardboards for tapestries, carries out projects for sculptural reliefs and various items of artistic craft, conceives, together with Peiresque, the publication of engravings from antique gems and cameos, and finally, from a young age, he became interested in architecture, publishes a two-volume essay “Palaces of Genoa with their plans, facades and sections” (1622).

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In January 1622, Rubens went to Paris, where he entered into an agreement with the French queen Marie de' Medici, mother of Louis XIII, to paint paintings for two galleries from the new Luxembourg Palace. However, Rubens sometimes had to defend his plans, opposing the intentions of the queen. In general, the situation at the French court was not very favorable. Blows of fate fall one after another on Rubens; in 1623 he experienced the loss of his daughter, and in 1626, probably from the plague epidemic that was then raging in Antwerp, his wife, Isabella Brant, also dies. Hardly experiencing this new grief, the artist, in order to somehow drown out the pain, plunges deeply into the abyss of diplomatic activity. In 1627, he traveled on a secret mission to Paris, and then, under the guise of a painter traveling to study art, to Holland, where he conducted secret negotiations with the attorney of the English minister, the Duke of Buckingham. In 1628, Rubens went to Madrid to meet with the Spanish king, and in 1629 to London to complete negotiations. In 1630, the artist’s long-term efforts finally crowned with success: peace between Spain and England was signed..

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He got up at four o'clock in the morning and listened to early mass, assuring that such a start to the day helped him concentrate and feel the peace of mind necessary for work. Then he sat down at the easel, always working in the presence of a reader who read Plutarch, Titus Livius or Seneca aloud to him. As contemporaries testified, at the same time Rubens could “converse casually with those who came to visit him.” So he worked “until five o’clock in the evening, then he mounted his horse and went for a walk outside the city or to the city fortifications, or in some other way tried to give his mind a rest.” The artist spent the rest of the day with his family and friends, who “came to dine with him.” He preferred an interesting conversation, reading or studying his collections to everything. Despite the variety of interests of the artist, his main passion still remained painting. It is not for nothing that in one of his later letters he called it his “favorite profession.”

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But aristocrats, like the richest Dutch nobleman, Duke Aarschot, never denied themselves the pleasure of once again humiliating the artist, letting him understand how he should behave with those who are higher on the social ladder. In the end, having failed in the next negotiations in 1631-1632 regarding the possibility of concluding a truce with Holland, Rubens, “hating the courts” and feeling the futility of his efforts in a world torn apart by the contradictions of the “Iron Age”, left diplomatic activity, completely devoting himself to creativity. In December 1630, the artist entered into a second marriage, marrying sixteen-year-old Elena Fourment, the youngest daughter of a wealthy tapestries merchant, Daniel Fourmeit. “I took a young wife,” he wrote to Peirescu on December 18, 1634, “the daughter of honest townspeople, although they tried to convince me from all sides to make a choice at the Court, but I was afraid of the vice of the nobility - pride, especially characteristic of this sex. I wanted to have a wife who wouldn’t blush when she saw me take up my brushes...” “Now,” the artist added in the same letter, “I live peacefully with my wife and children... and don’t strive for anything.” in the world except peaceful life.”

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For the last few years, Rubens lived quite secludedly, spending most of the year at the Steen estate, which he bought in 1635, with a real medieval castle in a picturesque area located between Malines and Antwerp. There he painted his last landscapes, observing the life of the surrounding villages, peasant holidays and festivities. But the last years of the artist were seriously overshadowed by a cruel illness, attacks of which became stronger and more frequent and, starting in 1638, prevented him from working for a long time. And yet, the usual activity did not leave Rubens until the last day of his life. He continued to supervise his assistants, took care of his students, and when he could no longer hold a pen in his hands, he dictated letters. His spirit remained persistent, and the life-affirming nature of the master’s last works is the best confirmation of this. On May 30, 1640, the inevitable happened: Rubens died of heart palsy. Iris herself and Aurora gave you their colors, Night gave you darkness, Apollo gave you bright rays of light. You, Rubens, gave life and soul to all these figures, with your brush you revived colors, shadows, and light. Now evil death wants to destroy you. In vain! You are alive! in your colors life itself burns. Bellori

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Peter Paul Rubens

(1577-1640)

GBOU Secondary School No. 84, Petrograd District

Saint Petersburg

The outstanding Flemish painter Peter Paul Rubens (1577-1640) was a man of rare genius, who possessed all the virtues so necessary both for great achievements in art and for success in society - a powerful intellect, vigorous energy, good health, pleasant appearance, an amazing gift of harmony and, in addition, a clear head for creative and business activity.

Fragment of a self-portrait

Falfraf Richartz Museum, Cologne

"The Four Parts of the World" 1612-1614

Kunsthistorisches Museum, Vienna

Rubens spoke six languages, studied with three Flemish painters, and was a happy artist who knew no doubts or disappointments in his work.

His contemporaries called him “the king of artists and the artist of kings.” It is enough to look at his paintings, and there will not be the slightest doubt about this.

"Duke of Lerma" 1603

Prado Museum, Madrid

Most of all, he was delighted by the malleable, plastic beauty of the human body. Although he liked the material world around him, he was entirely filled with the deep, exalting religious faith of his time.

"Nailed Prometheus" 1610-1611

Museum of Fine Arts, Philadelphia

"Diana's Return from the Hunt" 1615

Dresden Art Gallery, Germany

Whatever he painted - a blond Venus surrounded by nymphs or a pensive Mother of God with a child in her arms, an allegory of powerful figures shining with light on the clouds, a fertile landscape near a house - his work was always a hymn praising the beauty of our world.

"Union of Earth and Water" 1618

State Hermitage Museum

“The history of art does not know a single example of such universal talent, such powerful influence, such indisputable, absolute authority, such creative triumph,” one of his biographers wrote about Rubens.

“The Holy Family and Saint Anne” 1630 Prado Museum, Madrid

"The Hunt for the Hippopotamus" 1615-1616

Alte Pinakothek, Munich

Rubens, like no one else, embodied the mobility, unbridled vitality and sensuality of European painting of the Baroque era. His work is an organic fusion of the traditions of Bruegelian realism with the achievements of the Venetian school.

"The Rape of the Daughters of Leucippus", 1617

Alte Pinakothek Munich

Rubens is not only a virtuoso master of large-scale works on mythological and religious themes, but also a subtle portrait and landscape painter.

“Summer Landscape with a View of Het Styn” 1635. London National Gallery, England

Vivis, vita tuo picta colore rubet. You're alive! In your colors life itself burns. J. P. Bellori.

"The Three Graces" 1639

Prado Museum, Madrid

THANKS FOR

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Sculptural masterpieces of Lorenzo Bernini

"The Ecstasy of Saint Teresa"

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A true masterpiece of Bernini's sculptural creativity was the altar composition “The Ecstasy of Saint Teresa” for the Roman Cathedral of Sita Maria della Vittoria. The composition reveals one of the episodes from the notes of the Spanish nun Teresa, who lived in the 16th century. and later canonized by the church. In her notes, she told how one day an angel appeared to her in a dream and pierced her heart with a golden arrow:

“In the angel’s hand I saw a long golden arrow with a fiery tip; it seemed to me that he stabbed it several times into my heart... The pain was so strong that I could not stop myself from screaming, but at the same time I experienced such endless sweetness that... let this pain last forever.”

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Bernini faced the difficult task of depicting a supernatural phenomenon, so the sculptural group was conceived as a vision in a dream. The author managed to masterfully convey in marble the highest tension of the heroine’s feelings. The master hides the supporting points of the figures from the viewer; he manages to imagine them floating in the clouds.

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The unreality of what is happening is emphasized by beams of rays in the background and swirling clouds on which Saint Teresa reclines, her head thrown back helplessly. Her eyelids are half-closed, as if she does not see the gentle and smiling angel appearing before her. Suffering and pleasure are intertwined in her painfully ecstatic appearance. The heroine’s emotions are brought to the extreme, to the point of frenzy, but at the same time the viewer does not get the impression that her feelings are unnatural. The sculptor reinforced the effect of a mystical vision with light falling in the daytime through the yellow glass of the cathedral window.

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Yes, Bernini conquered marble, he really made it “flexible like wax.”

Among Bernini's best creations are the fountains with which he decorated Rome. The most famous of them are the Triton Fountain (1637) and the Four Rivers Fountain (1648-1651) - a brilliant combination of expressive Baroque plasticity with bubbling and foaming water.

Lorenzo Bernini. Fountain of the Four Rivers. Fragment. 1648-1651 Rome

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Baroque painting

The fine art of the Baroque is most vividly and expressively represented by decorative monumental painting, which conquered and blinded contemporaries with its festive splendor, intensity of passions, indomitable energy and dynamics. Lush compositions decorated the walls and ceilings (plafonds) of palaces and temples, country residences of the nobility and park pavilions.

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Its main themes are the triumph of Divine justice and the glorification in heaven of Christ, the Mother of God and the saints, as well as ancient allegorical subjects, the glorification of military victories, the approval of new laws, the idea of ​​​​the unlimited power of the state and the church.

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Hyacinth Rigo. Portrait of Louis 14. 1701 Louvre. Paris.

The characteristic features of the Baroque are reflected in the genre of ceremonial portraiture. Artists saw their main task in conveying contradictory feelings and experiences, the subtlest psychological shades of the human soul.

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Not a single court painter of the late 17th - early 18th centuries. I couldn’t ignore the genre of ceremonial portraiture.

“All of them created huge portraits depicting a generation or full-length, where the viewer found himself in the realm of lush curtains and ceremonial columns, iridescent silk, heavy velvet, embroidered gold brocade, bulky folds, immense robes, giant wigs and lace whipped like foam, the shine of decorative armor, order chains, stars, ribbons, the shine of precious stones, self-confident faces and poses, pointing fingers, wands, sceptres, attributes of power, rank, title, piled up in such abundance that they make your head spin...

It was a luxurious theater of power that had reached complete self-indulgence and had completely forgotten how to distinguish the visible from the real, the ostensible from the real, or rather, believing only one desired, flattering appearance.”

(V.N. Prokofiev)

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How much pomposity and narcissism is in the portrait of Louis XIV, made by the French artist Hyacinthe Rigaud (1659-1743)! The theatricality and pretentiousness of the pose, the arrogant and condescending gaze of the “Sun King,” the excessive luxury of attire, the richness of ceremonial draperies and attributes of royal power are striking. The painting, originally intended as a gift for the nephew of the Spanish king, pleased the customer so much that he wanted to keep the original. A copy was sent to Spain.

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Rubens - the king of painting

Rubens, more precisely Rubens (Rubens) Pieter Powell (1577-1640), Flemish painter. From 1589 he lived in Antwerp, where he received a comprehensive humanitarian education. Having devoted himself to painting early, he studied (from 1591) with T. Verhacht, A. van Noort, O. Venius (van Wen). In 1600-1608, Rubens visited Italy, where he studied the works of Michelangelo, painters of the Venetian school, the Carracci brothers, and 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, a desire to rework Italian impressions in the spirit of national artistic traditions was evident.

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When the name Rubens is mentioned, lush Flemish beauties with golden hair, scenes of hunting and battles, bacchanalia, magnificent landscapes with swirling clouds, rapidly falling waterfalls, mighty shady trees, boundless expanses of meadows and fields come to mind...

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Peter Powel Rubens (1577-1640) is one of the world's leading artists. One of the biographers wrote about the significance of his work:

“The history of art does not know a single example of such universal talent, such powerful influence, such indisputable, absolute authority, such creative triumph.”

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Peter Powell Rubens,

Self-portrait with Isabella Brapt. 1609-1610 Alte Pinakothek, Munich

Look at his portrait and you will understand how talented this aspiring artist was. Rubens's handsome face is calm and full of self-esteem. A fashionable, smart suit with a wide lace collar, a hat with a high crown and a metal brooch, leather shoes with elegant garters emphasize his aristocracy and subtle artistic taste. He sits with his young wife in a gazebo entwined with greenery and blooming honeysuckle. With an air of affectionate patronage, he leaned slightly toward his wife, his hand resting on his sword. Expressive eyes are turned directly to the viewer, their infinitely kind gaze is full of quiet and serene happiness. Two figures leaning towards each other, the eloquent gesture of joined hands symbolize inner harmony and love.

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Peter Powell Rubens. Battle of the Amazons and the Greeks. 1615-1619 Old Pina Kotek, Munich

Yes, it was a period of peace, work and quiet happiness in the artist’s life. In 1609, Rubens was appointed court painter, and this, in turn, raised his prestige in society and opened the way to free creativity. There was no shortage of orders, and the number of admirers of his talent was constantly growing. His customers were the French Queen Marie de Medici, Princess Isabella of the Netherlands, Genoese merchants...

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Rubens had a colossal capacity for work. At six o'clock after morning mass, he went to the studio to his work table or easel, making dozens of sketches and drawings on paper or cardboard. Then he visited students who specialized in certain elements of the painting, and painted ready-made compositions, barely touching individual parts of the canvas with his brush. He created about one and a half thousand independent works and the same number in collaboration with his students - an incredible figure for a person who lived only 63 years! A convincing commentary on Delacroix’s words: “Rubens is God!”

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Peter Powell Rubens,

Union of Earth and Water. 1618

State Hermitage Museum, St. Petersburg

In the allegorical painting “The Union of Earth and Water,” he glorifies the union of two natural elements, without which human life is impossible. The earth is personified by the mother of the gods Kybella, the water is represented by the god of the seas Neptune. On the border of their domains, they enter into an alliance, which is sanctified by the winged goddess Victoria, who places a golden crown on the head of Kybella. A triton trumpeting a greeting emerges from under the rock towards the viewer. Charming putti have fun and play in the streams of flowing water.

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This picture contained a deep meaning associated with Rubens’ hope for the speedy prosperity of his homeland. After the division of the Netherlands into North and South Flanders, Flanders lost access to the sea and, therefore, lost profitable trade sea routes. The union of two natural elements - Earth and Water - is a hope for the establishment of peace, the artist’s dream of a union of Flanders with the sea.

“Art XVII-XVIII” - The general features of the realism method are authenticity in the reproduction of reality. Renbrant. "Christ during a storm on the Sea of ​​Galilee." Arcimboldo. Ilya Repin Barge Haulers on the Volga. Mannerism. V.V. Rastrelli. The main aesthetic criterion is not following nature. Bryullov Karl. The last day of Pompeii.

“Rococo” - Poetic imagination played an important role in Watteau’s creative method. Holiday of love. Jean Antoine Watteau. Rococo. Venice holiday. Landscape with rest on the way to Egypt. Society in the park. Capricious. Interior of the Chinese Palace in Oranienbaum. Main features of the style. Particularly interesting in the interior of the Soubise Hotel is the Oval Salon.

"The Art of 18th Century England" - Christopher Wren. Fashionable marriage. Portrait of the artist's daughters. English architecture. Andrea Palladio. Beach and puppy Ok. Fine art of England of the 18th century. Toilet. Shrimp seller. Portrait of William and Elizabeth Hallett. Palladians. Portrait of the Duchess de Beaufort. Joshua Reynolds. Death of a Lady. Thomas Gainsborough.

“Rococo and Neoclassicism” - Key concepts. Realistic trends in art. Three cycles of paintings. Temperance of Scipio Africanus. Jean-Baptiste Simeon Chardin. Spring Hall. Antoine Watteau. Golden Gallery. Castle of Sans Souci. Western European art of the 18th century. New Palace. The art of neoclassicism. Library. Rococo painting.

“Architectural styles of the 18th-19th centuries” - Which of the buildings was indicated on the map. Triumphal Gate. Identify it on the map. Architecture styles. Architecture styles of the 18th-19th centuries. Ensembles of the St. Petersburg Empire style. Classicism in the architecture of St. Petersburg. Study of architectural styles. Creating the illusion of limitless space. Building of the Academy of Sciences.

“Artistic culture of the 17th century” - Baroque. France Snyders. Elena Fourman with children, 1636-1637. Return of peasants from the field. Apostles Peter and Paul. Harmes van Rijn Rembrandt. Return of the Prodigal Son. "Las Meninas". Velazquez. Madonna with Saints and Angels, 1634. Anthony van Dyck. "Venus with a Mirror" Peter Paul Rubens. Francisco Zurbaran.

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