New perspectives on Rubens’ landscapes: Separation and reunion of Het Steen and The rainbow landscape

Abstract

The articles in this Oud Holland special issue ‘New perspectives on Rubens’ landscapes’ reassess Peter Paul Rubens’ late landscapes from a number of new perspectives. The occasion for this was the landmark exhibition Rubens: Reuniting the great landscapes held at the Wallace Collection, London from 3 June to 15 August 2021, preceded by a conference ‘Rubens’ great landscapes’ held at the Wallace Collection on 17-18 May 2021. The exhibition was in fact a reunion of A view of Het Steen in the early morning (c. 1636) from the National Gallery, London and The rainbow landscape (c. 1636) from the Wallace Collection – two great panoramic landscapes that were created as a pendant pair, but which had been separated for more than two hundred years. This introductory essay explores the journeys and changing ownership of the two paintings from after their separation in 1803 to the time of their reunion in 2021. It investigates the growing fame of the companion pieces in Britain in the nineteenth century, where the greatest proportion of Rubens’ landscapes were already to be found. It focuses on the decisive moment in the history of the two paintings: the auction of the collection of the third Earl of Orford in 1856, when the chance was lost to reunite the pair at the National Gallery, and the negative press that consequently ensued against the winning bid (4th Marquess of Hertford) and the outbid (the leading national collection of old masters) alike. The authors investigate the fate of Het Steen , from its acquisition by Lady Margaret Beaumont that effectively separated the pair, its role in Sir George Beaumont’s collection and its brief reunion with its companion piece at the British Institution of 1815. As part of the Beaumont Gift, it is one of the foremost paintings within the earliest collection of the National Gallery. The rainbow landscape , on the other hand, passed through a succession of private collections, where it became increasingly visible, engraved and discussed as one of Britain’s greatest masterpieces. The 1856 purchase was a possible turning point for Lord Hertford, the reclusive collector, who at this stage was considering what to do with his collection after his death. This essay charts the trajectory of Rubens’ two great landscapes from the ownership of dealers, to private collectors, exhibitions, and finally to public museums, with increased visibility at each stage of their journey. Originally painted by Rubens for his own collection, to be displayed either on the walls of his manorial castle, Het Steen, itself or his Antwerp home, they would have been seen by a range of visitors, including artists and collectors. Two centuries later, they were to be found on the walls of Coleorton Hall and Wolterton Hall, two grand country houses in England. During periods of leisure spent at the invitation of the owners of these homes, later artists were able to contemplate these works and the surrounding landscapes and draw inspiration from them, and formulate their own artistic responses, in much the same spirit of ‘otium’ as outlined by Corina Kleinert in her essay. In keeping with the themes of this special issue, their history in Britain encompasses both the ‘prosaic’, transactional account of how they were sold, and the ‘poetic’ account of how artists travelled some distance to see the works in situ, to copy and be inspired by them. The pattern therefore complements the earlier provenance of these works, as part of a story of a gradual transferral from the private to the public domain.