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Rubens and his landscapes: Reflections on the notion of ‘otium’ 鲁本斯和他的风景画:对“otium”概念的思考

2区艺术学

OUD HOLLAND Pub Date : 2023-09-06 DOI: 10.1163/18750176-1360203004

Corina Kleinert

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引用次数: 0

Rubens’ landscapes and the Dutch Republic 鲁本斯的风景画和荷兰共和国

2区艺术学

OUD HOLLAND Pub Date : 2023-09-06 DOI: 10.1163/18750176-1360203003

Nils Büttner

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引用次数: 0

Netherlands Yearbook for History of Art / Nederlands Kunsthistorisch Jaarboek (NKJ) 荷兰艺术史年鉴/荷兰艺术史年鉴(NKJ)

IF 0.3 2区艺术学

OUD HOLLAND Pub Date : 2020-12-04 DOI: 10.1163/1875-0176-1330304009

Editors Oud Holland - Journal for Art of th

引用次数: 1

Black Ethiopians and the origin of ‘materia prima’ in Rubens’ images of Creation 埃塞俄比亚黑人和鲁本斯创造意象中“首要物质”的起源

IF 0.3 2区艺术学

OUD HOLLAND Pub Date : 2020-01-01 DOI: 10.1163/18750176-13301002

Teresa Esposito

{"title":"Black Ethiopians and the origin of ‘materia prima’ in Rubens’ images of Creation","authors":"Teresa Esposito","doi":"10.1163/18750176-13301002","DOIUrl":"https://doi.org/10.1163/18750176-13301002","url":null,"abstract":"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.","PeriodicalId":39579,"journal":{"name":"OUD HOLLAND","volume":"1 1","pages":"10-32"},"PeriodicalIF":0.3,"publicationDate":"2020-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"77276769","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}

引用次数: 2

APPENDIX 3: Paintings by Jacob de Wet and his workshop in Meĳeringh’s inventory (1687) 附录3:雅各布·德·维及其工作室在Meijeringh库存中的画作(1687年)

IF 0.3 2区艺术学

OUD HOLLAND Pub Date : 2018-11-16 DOI: 10.1163/18750176-13102006

Editors Oud Holland

引用次数: 0

APPENDIX 1: Pupils of Jacob de Wet during 1638-1644, 1650-1656, and 1660-1670 附录1:1638年至1644年、1650年至1656年、1660年至1670年期间Jacob de Wet的学生

IF 0.3 2区艺术学

OUD HOLLAND Pub Date : 2018-11-16 DOI: 10.1163/18750176-13102004

Editors Oud Holland

引用次数: 0

The workshop of Jacob de Wet (1610-1675) and his mass production of history painting 雅各布·德·维(1610-1675)的工作室和他大量生产的历史绘画