Obesity Barnett, Richard
The Lancet (British edition),
02/2017, Letnik:
389, Številka:
10069
Journal Article
Recenzirano
When does "large" become "obese"? In more technical terms, at what point does an acceptable variation in bodyweight become a pathological condition? And how does an individual's lifestyle become ...subject to public and medical scrutiny? A stroll round any gallery offers a striking insight into these questions.
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.
Rubens: The Power of Transformation, an exhibition featuring the works of arts of artist Peter Paul Rubens at the Kunsthistorisches Museum, Vienna Austria is reviewed.
The history of art has been engaged with mobility for centuries. The study of movement, its limits and potential, is a fundamental principle of the discipline. A fascination with, and rejection of ...movement lies at the core of much of its narrative. However, recent art historical analysis, which is concerned primarily with the travels of artists (as described, for example, in biographical accounts), overlooks both the intrinsic itinerancy of their objects and the intricacies of their transference. This paper aims to fill this scholarly lacuna by focusing on the case of the Flemish painter Peter Paul Rubens (1577-1640), one of the most eminent artists of his generation to fully exploit the new technologies of transportation on a pan-European scale. His abundant correspondence, which counts over 250 letters, reveals precious details about packing and unveiling procedures, strategies for speeding up cargoes, careful assessments of the quickest and more secure roads, names and functions of custom agents, packers, drivers, couriers, and postmen-in other words, all the details concerning the mechanics of mobility in an increasingly itinerant world. This article analyzes this logistics concoction in order to better understand the impact of distance on itinerant matter in the Early Modern period.
The painter and etcher Theodoor van Thulden (1606–1669) was documented as a master in Antwerp from 1626, though not long thereafter, at the beginning of the 1630s, he would move to France. The aim of ...this article is to reconstruct why he chose to return to Antwerp in 1634 by analyzing three possible factors in his relocation: family obligations, a position as churchwarden at the church of St. Jacob, and the Joyous Entry of the Cardinal-Infante Ferdinand of Spain into Antwerp on 17 April 1635. The investigation includes a reconsideration of the sources that have generally been used to reconstruct his biography, as well as a study of previously unknown archival material. From all these sources it can be deduced that van Thulden was probably in direct contact with Peter Paul Rubens (1577–1640) at the beginning of his career, and that it was Rubens who encouraged him to return to Antwerp.
In the 24 paintings for the French Queen Marie de' Medici, painted by Peter Paul Rubens 1622−1625, historic facts are depicted in the shape of mythological gods and symbols resulting in allegorical ...scenes. When focusing on headdress, the crowns and the wreaths rarely present a challenge in modern interpretations, but a magnificent diadem does. The grand diadem in these paintings appears to be misread in analyses today. At this point in history, the crowns and the wreaths have been transferred from divine spheres and turned into physical objects. The large diadem has not; it is still only a symbol on a goddess or for goddess-like qualities. Today, it is an easy mistake to believe that Rubens copied what he saw instead of heralding a coming fashion. Here, I suggest that it is the highest goddess Juno the Queen is personifying. Juno, a goddess for women in general, was also the saviour of the country and a special counsellor of the state. These roles are what Queen Marie took on when acting as regent for her young son, Louis XIII. By putting Juno's diadem on Marie's head, the divine abilities are manifested according to the allegorical language of the Baroque.
Peter Paul Rubens Varshavskaya, Maria; Yegorova, Xenia
2012., 2015, 2012-01-17
eBook
Universally celebrated for his rosy and concupiscent nudes, Peter Paul Rubens (1577-1640) was an artist whose first concern was sensuality in all its forms. This Baroque master devoted himself to a ...lifelong celebration of the joys and wonders of the physical realm. He felt that the human body was as lovely and natural as the many natural landscapes he painted as a young man. In a lushly illustrated text, Maria Varshavskaya and Xenia Yegorova explore the master at work, bringing a unique focus to Ruben's life and work
Tra Fiandre e Italia: Rubens 1600–1608: Regesto biografico‐critico, by Morselli, Raffaella, Roma: Collana/I Libri di Viella, 2018, 356 pp., 26 b. & w. illus., paperback, €55Undressing Rubens: Fashion ...and Painting in Seventeenth‐Century Antwerp, edited by Newman, Abigail D. and Nijkamp, Lieneke, Brepols: Harvey Miller, 2019, 228 pp., 136 col. and 2 b. & w. illus., hardback, €135Here are two books that represent opposite ends of the spectrum of current Rubens studies: on the one hand a finely crafted vade mecum of the artist's years in Rome from 1600 to 1608 comprising transcriptions, commentary and indices and, on the other, a wide‐ranging collection of essays devoted to fashion and painting in seventeenth‐century Antwerp. While Peter Paul Rubens (1577–1640) is the sine qua non of the first, in the second he is (title notwithstanding) sometimes more a distant point of reference than a subject of enquiry.
Painted in the final decade of his life, Rubens’s autograph work
defies interpretation. The artist was a contemporary of Galileo though attempts to evidence a meeting have so far failed. He had ...already painted a series of night skies and had many recent books on astronomy/astrology, as well as ancient texts, in his library. This is a painting full of plausible stellar bodies none of which quite fits into a recognised constellation. Nor does the image accurately accord with any mythological narrative. So, is the Milky Way here simply a pretext to depict Juno as Queen of the heavens? I propose that Rubens was a learned eclectic for whom Aristotelian views of the cosmos could meld both with contemporary earth-centred arguments about a providential universe and with new Copernican theories. Uniting his interest in pictorial space with newfound possibilities for understanding the cosmos, Rubens draws on the ancient Roman concept of sparsio, or abundance, with which he would have been familiar through his friendship with Hugo Grotius. Executed a few years after the fifty-three-year-old artist had married his fecund second wife, then aged sixteen,
constitutes a witty and profound meditation on female generosity within a framework of universal laws.
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