In this paper I examine the changing relationship between mechanical reproductions and the original artwork in the context of the Rubens centennials in 1877 and 1977. Drawing on theorists such as ...Walter Benjamin, Dean MacCannell, Hans Belting and Boris Groys, I argue that the mechanism of copying generates a double logic of image perception: a simultaneous centrifugal and centripetal circulation of images that affects how people perceive art in modern society. I explore this perception dynamic by looking at two photo-exhibitions during the Rubens centennials.
At the beginning of the 16th century, the first works that represent the theme of the Meal of Jesus in Bethany begin to appear. However, the creator of the iconographic model that will appear on two ...large canvases located in the cities of Malaga and Ronda is the Flemish painter Pedro Pablo Rubens. On an indeterminate date, although surely around 1618, Rubens made a small oil painting on wood measuring 31 x 41.5 cm, which lacks his signature 3 Of him. This work is in the Gemälde-Galerie, Akademie der Bildenden Künsten, Vienna 1 . As he used to do frequently, Rubens creates with this work the original design of the composition of the theme of The meal of Jesus in the house of Simon the Pharisee,that later it will be carried out in large format in the painting, which today is in the Hermitage Museum, and that would later be used as a basis for the engravings that would spread the theme throughout the Catholic world and that would serve as a model to other artists 4 . Between 1618 and 1620 Rubens carried out in his workshop the large painting with 189 x 285 cm, which is in the Hermitage Museum in Saint Petersburg. This work became part of the Russian museum in 1779, when it was acquired by Catherine the Great from the collection of Robert Walpole at Houghton Hall, Norfolk 5. Maria Varshavskaya and Xenia Yegorova have interpreted the work as a conflict between good and evil, between virtue and vice, where the sins of the Pharisees are exposed: pride, hypocrisy, mental myopia or disbelief, ostentatious piety and greed. The two paintings in Malaga are by Miguel Manrique.
Agate was highly regarded in antiquity and through the early modern period; when sliced, images seemingly inscribed by nature could be identified on its surfaces, and its layered colours were ...exploited for cameo carving. However, agate is also widely recorded in the rough in contemporaneous natural history collections where the ‘eye’ that could be cut from the core was valued in Aristotelian medicine. Taking as its starting point the hitherto neglected 1622 correspondence about a piece of agate between Peter Paul Rubens and the French humanist Nicholas‐Claude Fabri de Peiresc, this essay brings together collecting, friendship and artistic production within a context of early mineralogy. Through an investigation of the material, tactile, aesthetic and para‐scientific attributes of agate, and drawing on further evidence from Rubens's life, I propose a sensibility shaped by a predilection for the lithic whose influence is discernible in the artist's work as more widely understood.
On behalf of the Catholic Church, the Council of Trent (1545–1563) confirmed the usefulness of religious images and multisensory worship practices for engaging the bodies and the minds of ...congregants, and for moving pious devotees to empathize with Christ. In the center panel of the Rockox Epitaph (c. 1613–1615), a funerary triptych commissioned by the Antwerp mayor Nicolaas Rockox (1560–1640) and his wife Adriana Perez (1568–1619) to hang over their tomb, Peter Paul Rubens (1577–1640) paints an awe-inspiring, hopeful image of the Risen Lord that alludes to the promise of humankind’s corporeal resurrection at the Last Judgment. In the wings, Rockox and Perez demonstrate affective worship with prayer aids and welcome onlookers to gaze upon Christ’s renewed body. Rubens’s juxtaposition of the eternal, incorruptible body of Jesus alongside five mortal figures—the two patrons and the three apostles, Peter, Paul, and John—prompted living viewers to meditate on their relationship with God, to compare their bodies with those depicted, and to contemplate their own embodiment and mortality. Ultimately, the idealized body of Christ reminds faithful audiences of both the corporeal renewal and the spiritual salvation made possible through Jesus’s death and resurrection.
After his return from Italy in 1608, Peter Paul Rubens received a commission to depict an Adoration of the Magi for the Statenkamer in Antwerp’s Town Hall. It was the first, grand display of his ...stylistic and iconographic innovations. By building on unexplored contemporary sources and close reading of the iconography, this article posits that Rubens’s canvas served as a questie on various matters under discussion at the time, and was designed to induce divergent affects in the beholders.
The Age of Highmore Tambling, Kirsten
The Eighteenth century (Lubbock),
03/2021, Letnik:
62, Številka:
1
Journal Article
Recenzirano
Building on her 2017-18 exhibition at the Foundling Museum, London, Jacqueline Riding makes a forceful case for Joseph Highmore as a key figure in eighteenth-century British art. Her book, which ...covers Highmore's conversation pieces and portraits, his series pictures and his involvement with the Foundling Hospital, reveals Highmore to have been a painter of internationalist instincts, and as keenly interested in the narrative possibilities of painting, both individually and in sequence, as his coeval, William Hogarth.
Wallace Stevens, Poetry, and France offers the first book-length study of the various effects–poetic or prosaic, serious or comic, strange or familiar–produced by the deployment of French languages ...and cultures in Stevens’ poetry. Prominent Stevens scholars reexamine here a number of key issues, from angles as diverse as translation studies, aesthetics, linguistics, comparative literature, French theory, and politics, raised by Stevens’ special relation to France around the writing of poetry.
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