DOI chapter:
Painters, Sculptors, Architects, Engravers, and their Works
DOI Page / Citation link:https://doi.org/10.11588/diglit.61295#0547
RUBENS.
525
his representations from profane history are six pictures of the His-
tory of Decius, in the Lichtenstein Gall., in which he appears far
more grand than in the twenty-one scenes from the Life of Marie de’
Medici in the Louvre. That one in which the Consul is dedicated
to death by the High Priest is most wonderful. His mythological
subjects are full of sensual power. The “ Rape of Proserpine ” at
Blenheim; the “ Battle of the Amazons ” at Munich; the “ Garden of
Love ” at'Madrid (copy in Dresden) ; and the “ Rape of the Daughters
of Leucippus,” at Munich, are some of the more important of this
class. His genre pictures were delightful. A “ Tournament near an
old Castle,” in the Louvre, and a Fair, in the same Gall, are examples
of this phase of the talent of this inexhaustible genius. His pictures
of children are simply charming, and convey the idea that he painted
them from pure love of it. Four children in the Berlin Gall., and
seven others carrying a festoon of fruit, in the Munich Gall., are
beautiful examples. His portraits are his most perfect works to some
minds; certainly they are admirable, and very numerous. I can give
space to mention but a few. That of Helen Fourment walking with
a page, at Blenheim; the famous “ Chapeau de Paille,” in the Coll,
of the late Sir Robert Peel; that of the two sons of Rubens, in the
Lichtenstein Gall., and the so-called “ Four Philosophers,” in the
Pitti, are among the most celebrated. The last is extremely fine in
color, and represents the artist and his brother, with Justus Lipsius
and Hugo Grotius. The representation of animals was by no means
a lesser power with Rubens. He preferred to paint them in conflict
and action; fine examples are in the Munich, Dresden, and Vienna
galleries. His landscapes, when only intended as backgrounds for
his figures, were often fine, and it is said that he painted a larger
number than Titian of landscapes proper. Many of these are in pri-
vate collections in England. The “ Deluge in Phrygia,” in the
Vienna Gall., combines a most effective lighting with masterly com-
position and handling.
ENGRAVINGS AFTER THE WORKS OF RUBENS.
Engraver, Ardell, James Me. Rubens, his Wife, and Child.
Engraver, Audran, Benoit. Two prints for the Luxembourg
Gall., representing the Accouchement of Marie de’ Medici.
Engraver, Baillu. The Reconciliation of Jacob and Esau.
Christ in the Garden. Dying Magdalene, supported by Angels.
Combat of the Lapithm.
Engraver, Barbe. The Holy Family, with the Infant Jesus em-
bracing S. John; fine and scarce.
Engraver, Bartsch. The Obsequies of Publius Decius Mus;
large plate.
Engraver, Blooteling or Bloteling, Abraham. Two Heads
of Children; rare. The study of the Head of a Man; A. Bloteling,
fee. et exc. ; rare.
525
his representations from profane history are six pictures of the His-
tory of Decius, in the Lichtenstein Gall., in which he appears far
more grand than in the twenty-one scenes from the Life of Marie de’
Medici in the Louvre. That one in which the Consul is dedicated
to death by the High Priest is most wonderful. His mythological
subjects are full of sensual power. The “ Rape of Proserpine ” at
Blenheim; the “ Battle of the Amazons ” at Munich; the “ Garden of
Love ” at'Madrid (copy in Dresden) ; and the “ Rape of the Daughters
of Leucippus,” at Munich, are some of the more important of this
class. His genre pictures were delightful. A “ Tournament near an
old Castle,” in the Louvre, and a Fair, in the same Gall, are examples
of this phase of the talent of this inexhaustible genius. His pictures
of children are simply charming, and convey the idea that he painted
them from pure love of it. Four children in the Berlin Gall., and
seven others carrying a festoon of fruit, in the Munich Gall., are
beautiful examples. His portraits are his most perfect works to some
minds; certainly they are admirable, and very numerous. I can give
space to mention but a few. That of Helen Fourment walking with
a page, at Blenheim; the famous “ Chapeau de Paille,” in the Coll,
of the late Sir Robert Peel; that of the two sons of Rubens, in the
Lichtenstein Gall., and the so-called “ Four Philosophers,” in the
Pitti, are among the most celebrated. The last is extremely fine in
color, and represents the artist and his brother, with Justus Lipsius
and Hugo Grotius. The representation of animals was by no means
a lesser power with Rubens. He preferred to paint them in conflict
and action; fine examples are in the Munich, Dresden, and Vienna
galleries. His landscapes, when only intended as backgrounds for
his figures, were often fine, and it is said that he painted a larger
number than Titian of landscapes proper. Many of these are in pri-
vate collections in England. The “ Deluge in Phrygia,” in the
Vienna Gall., combines a most effective lighting with masterly com-
position and handling.
ENGRAVINGS AFTER THE WORKS OF RUBENS.
Engraver, Ardell, James Me. Rubens, his Wife, and Child.
Engraver, Audran, Benoit. Two prints for the Luxembourg
Gall., representing the Accouchement of Marie de’ Medici.
Engraver, Baillu. The Reconciliation of Jacob and Esau.
Christ in the Garden. Dying Magdalene, supported by Angels.
Combat of the Lapithm.
Engraver, Barbe. The Holy Family, with the Infant Jesus em-
bracing S. John; fine and scarce.
Engraver, Bartsch. The Obsequies of Publius Decius Mus;
large plate.
Engraver, Blooteling or Bloteling, Abraham. Two Heads
of Children; rare. The study of the Head of a Man; A. Bloteling,
fee. et exc. ; rare.