DOI Kapitel:
Painters, Sculptors, Architects, Engravers, and their Works
DOI Seite / Zitierlink:https://doi.org/10.11588/diglit.61295#0553
RUBENS — RUSTICI.
531
Engraver, Witdoeck, Hans. Melchisedec presenting Bread and
Wine to Abraham; 1638; proofs before the letters are very rare.
The Nativity; this plate has undergone several changes. The
Adoration of the Magi; 1683 ; the date is probably a mistake. The
Elevation of the Cross; in three sheets; 1638; his best print.
Christ with the Disciples at Emmaus; there are some impressions of
this plate printed in chiaro-scuro, under the direction of Rubens,
which are very scarce ; 1638. The Assumption of the Virgin; 1639.
The Holy Family, with S. John. Another Holy Family, with S.
Elizabeth. S. Cecilia.
Engraver, Wyngaerde, Francis Vanden. Christ appearing to
Mary Magdalene. Samson killing the Lion. The Nuptials of Peleus
and Thetis. A Bacchanal, in which Bacchus is drinking from a cup,
into which a Bacchante is pressing the juice of the grape.
Engraver, Zucchi, Lorenzo. The Crowning of S. Catherine.
His own Plates.
S. Francis receiving the Stigmata.
Penitent Magdalene.
S. Catherine; designed for a ceiling.
An Old Woman holding a lighted Candle for a Boy to light an-
other. When Rubens etched this plate but few impressions were
taken, which are now extremely scarce. It was afterwards finished
by another person.
Portrait of an English Minister; signed, P. P. P^ubens, fecit.
Rude, Francois (1785-1855). This sculptor had striking virtues,
and some glaring faults of manner. He seemed to represent nature,
upon one occasion, in a manner purified by classic study, and again,
in its rudest reality. His “ Mercury,” in the Louvre, a “Neapolitan
Fisherman,” in same Gall., and a statue of Joan of Arc, formerly in
the Luxembourg gardens, were the happiest of his works. His
statue of Marshal Ney, and the haut-relief on the Arc de 1’ Etoile,
were much exaggerated, and Liibke says most truly that the figure of
Bellona in the last work looks like an equestrienne standing on two
horses. His execution was always able, and is well shown in the
monument of Godefroy Cavagnac in Montmartre, but the whole
design is in the extreme naturalistic style, which always seems coarse
and shocking.
Rugendas, George Philip, born at Augsburg (1666-1742). A
painter of battle scenes of no great merit. He is better known by
his thirty etchings and more than 100 mezzotint engravings, the
fatter after his own designs.
Rustici, Gio. Francesco (1476-1550). A fellow-pupil with
Lionardo under Verrochio. Many of his works are lost or destroyed.
The principal one remaining is a bronze group above the northern
portal of the Baptistery at Florence. The subject is the Preaching
531
Engraver, Witdoeck, Hans. Melchisedec presenting Bread and
Wine to Abraham; 1638; proofs before the letters are very rare.
The Nativity; this plate has undergone several changes. The
Adoration of the Magi; 1683 ; the date is probably a mistake. The
Elevation of the Cross; in three sheets; 1638; his best print.
Christ with the Disciples at Emmaus; there are some impressions of
this plate printed in chiaro-scuro, under the direction of Rubens,
which are very scarce ; 1638. The Assumption of the Virgin; 1639.
The Holy Family, with S. John. Another Holy Family, with S.
Elizabeth. S. Cecilia.
Engraver, Wyngaerde, Francis Vanden. Christ appearing to
Mary Magdalene. Samson killing the Lion. The Nuptials of Peleus
and Thetis. A Bacchanal, in which Bacchus is drinking from a cup,
into which a Bacchante is pressing the juice of the grape.
Engraver, Zucchi, Lorenzo. The Crowning of S. Catherine.
His own Plates.
S. Francis receiving the Stigmata.
Penitent Magdalene.
S. Catherine; designed for a ceiling.
An Old Woman holding a lighted Candle for a Boy to light an-
other. When Rubens etched this plate but few impressions were
taken, which are now extremely scarce. It was afterwards finished
by another person.
Portrait of an English Minister; signed, P. P. P^ubens, fecit.
Rude, Francois (1785-1855). This sculptor had striking virtues,
and some glaring faults of manner. He seemed to represent nature,
upon one occasion, in a manner purified by classic study, and again,
in its rudest reality. His “ Mercury,” in the Louvre, a “Neapolitan
Fisherman,” in same Gall., and a statue of Joan of Arc, formerly in
the Luxembourg gardens, were the happiest of his works. His
statue of Marshal Ney, and the haut-relief on the Arc de 1’ Etoile,
were much exaggerated, and Liibke says most truly that the figure of
Bellona in the last work looks like an equestrienne standing on two
horses. His execution was always able, and is well shown in the
monument of Godefroy Cavagnac in Montmartre, but the whole
design is in the extreme naturalistic style, which always seems coarse
and shocking.
Rugendas, George Philip, born at Augsburg (1666-1742). A
painter of battle scenes of no great merit. He is better known by
his thirty etchings and more than 100 mezzotint engravings, the
fatter after his own designs.
Rustici, Gio. Francesco (1476-1550). A fellow-pupil with
Lionardo under Verrochio. Many of his works are lost or destroyed.
The principal one remaining is a bronze group above the northern
portal of the Baptistery at Florence. The subject is the Preaching