Rubens took an innovative approach in drawing after classical sources. Through this process they assimilated a rich vocabulary of poses, gestures, and expressions. Image © The Trustees of the British Museumīeginning in the Renaissance, young artists learned to represent the human figure by studying classical sculpture as well as live models. Bequeathed by William Fawkener, 1769, T, 14.1. Two Studies of a Boy after the Bronze Sculpture “Spinario” (Thorn Puller), 1601-2, Peter Paul Rubens, red chalk, heightened with white, with later gray background wash on paper. In their own lives, Peter Paul Rubens and his brother Philip adopted many of the tenets of Neo-Stoicism advocated by Lipsius, a philosophy that provided comfort to those who faced perpetual danger during decades of war between Catholics and Protestants. Seneca himself was venerated for exemplary courage in the face of death. Lipsius was the principal exponent of Neo-Stoicism, the revival of the Stoic philosophy embraced by Seneca, recast in a form that would be acceptable to Christians.Īpart from his scholarly objectives, Lipsius sought to promote Stoicism as a model for human behavior that emphasized self-control and fortitude to overcome destructive emotions. Reprintings in 1615 and later include engravings after drawings by Rubens. In 1605 the famed Flemish scholar Justus Lipsius (1547–1606) published an important edition of the works of the Roman philosopher Seneca (about 4 BC–AD 65). Image © Photographic Archive, Museo Nacional del Prado Self-Portrait with a Group of Friends in Mantua, his earliest self-portrait, attests to the camaraderie Rubens and his brother found among a circle of scholars and artists devoted to the ideals of classical antiquity.ĭeath of Seneca, 1612-15, Workshop of Peter Paul Rubens, oil on canvas. This immersive experience had a profound impact on Rubens’s art. He spent the next eight years in Italy studying firsthand the works of Raphael, Titian, Michelangelo, and Correggio, among other Renaissance masters, as well as ancient art.ĭuring two periods spent in Rome (1601––8), he gained access to important private collections of antiquities, thanks to negotiations by his elder brother, Philip, who arrived in Rome to study law in 1601. In 1600 the twenty-three-year-old Peter Paul Rubens traveled from his native Antwerp to Italy, and was soon employed as court artist by Duke Vincenzo Gonzaga in Mantua. Photo © Rheinisches Bildarchiv, Sabrina Walz, rba_d038880 On loan from the Bundesrepublik, Deutschland to the Wallraf-Richartz-Museum & Fondation Corboud, Cologne. Self-Portrait with a Group of Friends in Mantua, about 1602, Peter Paul Rubens, oil on canvas.
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