Pub Date : 2023-09-06DOI: 10.1163/18750176-1360203004
Corina Kleinert
This essay sheds light on Peter Paul Rubens’ intentions or possible underlying reasons for the ‘organic’ growth of his landscape paintings by analysing the fundamental contemporary notion of ‘otium’ (fruitful repose). Understood as contemplative leisure encouraging artistic and intellectual endeavour in accordance with Cicero’s advocacy of ‘otium cum dignitate’, it was deeply rooted in the classical writings of Horace, Virgil and Pliny the Younger. Ample research has shown that life in early modern Europe was tempered by the conceptual force of ‘otium’ and its opposite form, ‘negotium’. However, Rubens’ response to this dyad, and especially the effect it had on the creation of his landscapes, has only been addressed superficially. By teasing out the strands of ‘otium’ and ‘otium ruris’ (fruitful repose in the countryside), the author indicates multiple ways in which the topos of retreat played a notable part in Rubens’ poetic response to nature and landscape, to the aesthetic appreciation of the countryside in real life and in painting. Exploring both places and spaces present in the notions of ‘otium’ and ‘otium ruris’ in Rubens’ day not only consolidates our understanding of the personal dimension of landscapes, but it also sheds new light on the artist’s attentiveness and receptiveness to and his ongoing preoccupation with many of his large compositions in the 1630s. Although Rubens did not follow the idea of ‘otium’ programmatically, exploring it as a form of contemplative leisure nonetheless offers a key to understand the productive energy, artistic invention, and unique evolution of many of his landscapes. The examination of the important, but hitherto neglected landscape Return from the fields (c.1635-1638) at the Palazzo Pitti in Florence not only provides new insights to the painting’s intriguing genesis, it also demonstrates that Rubens’ landscapes may have provided a growing space of ‘otium ruris’ – for their creator and beholders alike.
本文通过分析当代“otium”(富有成效的休息)的基本概念，揭示了彼得·保罗·鲁本斯的意图或他的风景画“有机”增长的可能潜在原因。根据西塞罗倡导的“otium cum dignitate”，它被理解为鼓励艺术和智力努力的沉思休闲，深深植根于贺拉斯、维吉尔和小普林尼的古典著作中。大量研究表明，早期现代欧洲的生活受到“otium”及其相反形式“negotium”的概念力量的影响。然而，鲁本斯对这种二元对立的反应，尤其是它对他的风景画创作的影响，只是表面上的。通过梳理“otium”和“otium ruris”(富有成效的乡村休息)的脉络，作者指出，在鲁本斯对自然和景观的诗意回应中，在现实生活和绘画中对乡村的审美欣赏中，隐居的主题在多种方面发挥了重要作用。探索鲁本斯时代的“otium”和“otium ruris”概念中的地点和空间，不仅巩固了我们对风景个人维度的理解，而且还揭示了艺术家对17世纪30年代许多大型作品的关注和接受能力，以及他对这些作品的持续关注。虽然鲁本斯并没有遵循“otium”的规划理念，但将其作为一种沉思休闲的形式进行探索，仍然为理解他的许多景观的生产能量、艺术发明和独特演变提供了关键。对佛罗伦萨皮蒂宫(Palazzo Pitti)重要但迄今为止被忽视的风景画《田野归来》(Return from The fields, 1635-1638)的研究，不仅为这幅画有趣的起源提供了新的见解，还表明鲁本斯的风景画可能为创作者和观者提供了一个不断增长的“otium ruris”空间。
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Pub Date : 2023-09-06DOI: 10.1163/18750176-1360203003
Nils Büttner
Peter Paul Rubens (1577-1640) is generally regarded as the painter of the Counter-Reformation and the embodiment of Flemish Baroque. Since the founding of the Belgian state in 1830, he and his art have been increasingly appropriated as a point of reference for the cultural identity of Flanders. Art was also appropriated in the formation of the national identity of the Kingdom of the Netherlands – in particular the depiction of nature and landscape that had become a speciality of many painters in the northern provinces. But Rubens too was admired by his contemporaries for his landscapes, and in the Dutch Republic they were held in high esteem. For his part, Rubens can be shown to have followed closely developments in landscape painting on the Northern side of the border. Despite the difficult political situation, there was also an ongoing exchange between North and South, even during the Eighty Years’ War. Rubens bought and owned Dutch pictures, and added human and animal figures to landscapes of his Dutch colleagues. He took a general interest in such pictures as an incentive to paint landscapes himself, which, reproduced in prints, became well-known in the Dutch Republic. In terms of landscape art, not only can a lively exchange of images and ideas be demonstrated, but it can also be shown that the existing differences were not understood as an expression of different political or religious contexts. The example of Rubens and his landscapes shows the value of a change of perspective to focus not on the differences between Flemish and Dutch art, but on cultural cross-border connections.
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Pub Date : 2020-12-04DOI: 10.1163/1875-0176-1330304009
Editors Oud Holland - Journal for Art of th
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Pub Date : 2020-01-01DOI: 10.1163/18750176-13301002
Teresa Esposito
Peter Paul Rubens (1577-1640) included several black figures in his paintings, in particular in mythological and Christian scenes. Scholars, among which Elizabeth McGrath, have devoted a great deal of attention to Rubens' representation of Ethiopians, sometimes relating them to satyr-like, bacchanalian creatures in the company of Silenus, and in other cases as representatives of pagan people who became Christians. Relying largely on classical sources, McGrath further argued that in Rubens' bacchic scenes, black participants were manifestations of natural exuberance and endless joy, while the inclusion of the African man among the saved in the Last Judgement (1615-1616) supports the view that Rubens did not convey any racial stereotypes. Building upon McGrath's research, the author proposes alternative views of Rubens' symbolic approach to the black figure in both secular and religious contexts. The fascinating content of Rubens' Theoretical notebook plainly shows how this erudite painter was very much aware of modern natural philosophical debates and contemporary notions of Paracelsian alchemy. This article sketches Rubens' participation to an intellectual milieu wherein scientific subjects were discussed. For instance, Justus Lipsius (1547-1606) stated that knowledge of nature constituted an essential source of `philosophia moralis'. The allegorical reading of pagan myths and Christian narrative - a method encouraged by Lipsius - was conceived as an important tool for understanding the natural world. Commenting on early seventeenth-century discussions on the prime matter and its fundamental role in the creation of the universe and every existing being, the author argues that Rubens' depiction of black Ethiopians might include symbolic references to alchemy and other scientific disciplines of his time. The intertwinement of the spiritual and material worlds makes Rubens a fascinating artistic interpreter of Lipsius' revival of Stoic physics.
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Pub Date : 2018-11-16DOI: 10.1163/18750176-13102006
Editors Oud Holland
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Pub Date : 2018-11-16DOI: 10.1163/18750176-13102003
A. Jager
HAL is a multi-disciplinary open access archive for the deposit and dissemination of scientific research documents, whether they are published or not. The documents may come from teaching and research institutions in France or abroad, or from public or private research centers. L’archive ouverte pluridisciplinaire HAL, est destinée au dépôt et à la diffusion de documents scientifiques de niveau recherche, publiés ou non, émanant des établissements d’enseignement et de recherche français ou étrangers, des laboratoires publics ou privés. The workshop of Jacob de Wet (1610-1675) and his mass production of history painting Angela Jager
它是一个多学科的开放获取档案，用于科学研究文件的存储和传播，无论它们是否出版。这些文件可能来自法国或国外的教学和研究机构，也可能来自公共或私人研究中心。HAL开放多学科档案旨在存放和传播来自法国或外国教育和研究机构、公共或私人实验室的已发表或未发表的研究级科学文件。The workshop of (Jacob de Wet 1610-1675) and his Jager mass production of history多义词安琪拉
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Pub Date : 2018-11-16DOI: 10.1163/18750176-13102004
Editors Oud Holland
{"title":"APPENDIX 1: Pupils of Jacob de Wet during 1638-1644, 1650-1656, and 1660-1670","authors":"Editors Oud Holland","doi":"10.1163/18750176-13102004","DOIUrl":"https://doi.org/10.1163/18750176-13102004","url":null,"abstract":"","PeriodicalId":39579,"journal":{"name":"OUD HOLLAND","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2018-11-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"85111362","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2018-11-16DOI: 10.1163/18750176-13102005
Editors Oud Holland
{"title":"APPENDIX 2: Paintings by Jacob de Wet and his workshop in Doeck’s inventory (1664)","authors":"Editors Oud Holland","doi":"10.1163/18750176-13102005","DOIUrl":"https://doi.org/10.1163/18750176-13102005","url":null,"abstract":"","PeriodicalId":39579,"journal":{"name":"OUD HOLLAND","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2018-11-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"74278060","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2018-08-21DOI: 10.1163/18750176-13101003
Laurens Schoemaker
{"title":"‘Zo geestig, kunstig en natuurlyk’ Het portret van de familie Quarles door Gerard Hoet I (1648-1733)","authors":"Laurens Schoemaker","doi":"10.1163/18750176-13101003","DOIUrl":"https://doi.org/10.1163/18750176-13101003","url":null,"abstract":"","PeriodicalId":39579,"journal":{"name":"OUD HOLLAND","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2018-08-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"85885300","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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