The Interpretation of Emblem Concordia by Andrea Alciato in Peter Paul Rubens and Diego Velázquez paintings

This article examines the changing approach towards the representation of the senses in 17th-century Flemish painting. These changes are related to the cultural politics and courtly culture of the Spanish sovereigns of the Southern Netherlands, the Archdukes Albert and Isabella. The 1617–18 painting-series of the Five Senses by Jan Brueghel the Elder and Peter Paul Rubens as well as the pendant paintings on the subject are analyzed in relation to the iconography of the five senses, and in regard to Flemish genre themes. In this context, the excess of objects, paintings, scientific instruments, animals, and plants in the Five Senses are read as an expansion of the iconography of the senses as well as a reference to the courtly material culture of the Archdukes. Framing the senses as part of a cultural web of artifacts, Brueghel and Rubens refer both to elite lived experience and traditional iconography. The article examines the continuity between the iconography of the senses from 1600 onwards, as developed by Georg Pencz, Frans Floris, and Maerten de Vos, and the representation of the senses in the series. In addition, the article shows how certain elements in the paintings are influenced by genre paintings of the courtly company and collector’s cabinet, by Frans Francken, Lucas van Valckenborch and Louis de Caullery. Through the synthesis of these two traditions the subject of the five senses is reinvented in a courtly context

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Peter Paul Rubens und Matthaeus Merian der Altere

Zeitschrift für Kunstgeschichte ◽

10.2307/1482529 ◽

1990 ◽

Vol 53 (2) ◽

pp. 160

Author(s):

Frans Baudouin

Keyword(s):

Peter Paul Rubens

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Figuring Faith and Female Power in the Art of Rubens

10.5117/9789462985513 ◽

2020 ◽

Author(s):

J. Vanessa Lyon

Keyword(s):

Seventeenth Century ◽

Attitudes Toward Women ◽

Court Culture ◽

Peter Paul Rubens ◽

Catholic Theology ◽

Historical Scholarship ◽

Cultural Attitudes ◽

Female Power

Figuring Faith and Female Power in the Art of Rubens argues that the Baroque painter, propagandist, and diplomat, Peter Paul Rubens, was not only aware of rapidly shifting religious and cultural attitudes toward women, but actively engaged in shaping them. Today, Rubens’s paintings continue to be used -- and abused -- to prescribe and proscribe certain forms of femininity. Repositioning some of the artist’s best-known works within seventeenth-century Catholic theology and female court culture, this book provides a feminist corrective to a body of art historical scholarship in which studies of gender and religion are often mutually exclusive. Moving chronologically through Rubens’s lengthy career, the author shows that, in relation to the powerful women in his life, Rubens figured the female form as a transhistorical carrier of meaning whose devotional and rhetorical efficacy was heightened rather than diminished by notions of female difference and particularity.

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Peter Paul Rubens -- Two Self-Portraits and a Study

Parnassus ◽

10.2307/770814 ◽

1933 ◽

Vol 5 (3) ◽

pp. 12

Author(s):

Philip Hendy

Keyword(s):

Peter Paul Rubens

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REFLECTIONS OF BAROQUE FASHION IN DIEGO VELAZQUEZ WORKS

Idil Journal of Art and Language ◽

10.7816/idil-08-64-03 ◽

2019 ◽

Vol 8 (64) ◽

Author(s):

Huseyin Elmas ◽

Meltem Ozsan

Keyword(s):

Diego Velazquez

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Ex Uno Lapide: The making present of absence

Interstices: Journal of Architecture and Related Arts ◽

10.24135/ijara.v0i0.553 ◽

2019 ◽

Author(s):

Konrad Buhagiar ◽

Guillaume Dreyfuss ◽

Ephraim Joris Joris

Keyword(s):

Mirror Image ◽

Controlled Environment ◽

Solid Mass ◽

Closed Vessel ◽

Peter Paul Rubens ◽

Conceptual Space ◽

Objective World ◽

Creative Practice ◽

Architectural Production ◽

Parallel Lines

This paper comments on a drawing protocol entitled the “Monolith Drawing”, with which an architectural figure is extracted out of a single volume, synchronising analogue thinking with computational development, to enter history through our capacity to long for the experience of something that is absent. The Lacanian interpretation assumes there cannot be absence in an objective world, for absence can only exist through symbolic or representative means. It is through the representational means of the Monolith Drawing that we enable ourselves, as architects, to design presence where there is none. This research explores and (re)deploys the notion of ex uno lapide in contemporary architectural production. Such creative practice recovers a tradition linking geology with architectonic drawing and operates in conceptual space through means of contained sets of formal operations to generate a particular kind of architecture. The Monolith Drawing is here explained in relation to the design of a museum extension to house a tapestry cycle by Peter Paul Rubens, adjacent to St John’s Co-Cathedral in Valletta. These tapestries represent the idea of transubstantiation. In response, the museum’s design acts as a closed vessel, a monumental reliquary, enabling a closed and controlled environment to ensure the conservation of the artwork. The reliquary is interpreted as a container of meaning, directing a reciprocal gaze towards the idea of meaningful absence. The Monolith Drawing installs two important principles. The idea of the mirror-construct, in which an object is depicted using parallel lines to project its mirror image and allow twofold vision, outwards (res extensa) and inwards (res cogitans); and the idea of ex uno lapide – a strategy where architecture is carved out of solid mass. This carving is guided by allowing the depicted object and its mirror image to intersect. Its transcriptions allow for a drawing with history; a tracing of its own tracing.

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