Adoration of the Magi (Rubens, Madrid)
For other treatments of this subject by the same artist, see Adoration of the Magi. The Adoration of the Magi is a painting by the Flemish Baroque painter Peter Paul Rubens and he first painted it in 1609 and gave it a major reworking between 1628 and 1629 during his second trip to Spain. It is now in the Museo del Prado in Madrid and it is one of many works on the subject by Rubens - others include those of 1616-17 and 1624. Towards the end of 1608 Antwerp was preparing to receive the peace delegates negotiating an end to the war between Spain and the Dutch Republic and their negotiations were to be held in Antwerp City Hall between 28 March and 9 April 1609 and resulted in the Twelve Years Truce. He had returned to Antwerp and was already the citys most notable painter and he was paid 1,800 florins for the commission. The theme of the commission was an allusion to the benefits the city hoped to gain from peace, there is a study for the whole work in a private collection in London, which allows its original appearance to be reconstructed.
The town magistrates presented the painting to Calderón, but in 1621 he fell into disgrace and was executed, in 1623 Philip IV of Spain purchased the painting from the sale of Calderóns collection and installed it in his Royal Alcázar of Madrid. In September 1628 Rubens travelled to Spain for the second time and he had been summoned there to inform the king about his peace negotiations with Britain, but was able to rework the painting while he was there. Francisco Pacheco relates in his work El arte de la pintura changed some things in his painting of the Adoration of the Magi that was in the palace. This amounted to a complete re-working, with details modified, strips added to the top and right hand edges. It was installed in the Royal Palace of Madrid and he went to the Museo del Prado. In 2004, the painting underwent a complete restoration, catalogue entry Article on the painting in the Enciclopedia online del Prado. The painting in the Prados online gallery, Article on the painting on the Centro Virtual Cervantes.
The painting on the Prado website, El Siglo de Rubens en el Museo del Prado. Catálogo Razonado de Pintura Flamenca del Siglo XVII, barcelona / Madrid, Editorial Prensa Ibérica, S. A. / Museo Nacional del Prado. Museo del Prado, Catálogo de las pinturas, Ministerio de Educación y Cultura
The State Hermitage Museum is a museum of art and culture in Saint Petersburg, Russia. One of the largest and oldest museums in the world, it was founded in 1754 by Catherine the Great and has open to the public since 1852. Its collections, of only a small part is on permanent display. The collections occupy a complex of six historic buildings along Palace Embankment, including the Winter Palace. Apart from them, the Menshikov Palace, Museum of Porcelain, Storage Facility at Staraya Derevnya, the museum has several exhibition centers abroad. The Hermitage is a state property. Since July 1992, the director of the museum has been Mikhail Piotrovsky, of the six buildings in the main museum complex, namely the Winter Palace, Small Hermitage, Old Hermitage, New Hermitage and Hermitage Theatre, are open to the public. The entrance ticket for foreign tourists more than the fee paid by citizens of Russia. However, entrance is free of charge the first Thursday of every month for all visitors, the museum is closed on Mondays.
The entrance for visitors is located in the Winter Palace. A hermitage is the dwelling of a hermit or recluse, the word derives from Old French hermit, ermit hermit, from Late Latin eremita, from Greek eremites, literally people who live alone, which is in turn derived from ἐρημός, desert. Originally, the building housing the collection was the Small Hermitage. Today, the Hermitage Museum encompasses many buildings on the Palace Embankment, apart from the Small Hermitage, the museum now includes the Old Hermitage, the New Hermitage, the Hermitage Theatre, and the Winter Palace, the former main residence of the Russian tsars. In recent years, the Hermitage has expanded to the General Staff Building on the Palace Square facing the Winter Palace, the Western European Art collection includes European paintings and applied art from the 13th to the 20th centuries. It is displayed, in about 120 rooms, on the first and prints are displayed in temporary exhibitions. Since 1940, the Egyptian collection, dating back to 1852 and it serves as a passage to the exhibition of Classical Antiquities.
A modest collection of the culture of Ancient Mesopotamia, including a number of Assyrian reliefs from Babylon, Dur-Sharrukin, the collection of Classical Antiquities occupies most of the ground floor of the Old and New Hermitage buildings. Its floor is made of a marble mosaic imitating ancient tradition, while the stucco walls
The Honeysuckle Bower is a self-portrait of the Flemish Baroque painter Peter Paul Rubens and his first wife Isabella Brant. They wed on 3 October 1609, in St. Michaels Abbey, the painting is a full-length double portrait of the couple seated in a bower of honeysuckle. They are surrounded by love and marriage symbolism, the honeysuckle, Rubens depicts himself as an aristocratic gentleman with his left hand on the hilt of his sword. Media related to Honeysuckle Bower by Peter Paul Rubens at Wikimedia Commons Web Gallery of Art
Portrait of Marchesa Brigida Spinola-Doria
The Portrait of Marchesa Brigida Spinola-Doria is an oil painting by Peter Paul Rubens, dating to 1606. It is now in the National Gallery of Art in Washington and it was commissioned by Marquess Giacomo Massimiliano Doria, of Genoa, and shows his wife shortly after their wedding in 1605, she came from the equally prominent Spinola family. He died in 1613 and she remarried another Doria and it has been cut several times on each side, removing the garden shown in the background and the lower part of the figure. The overall dimensions of the painting are now 152 by 98 centimetres after the original was reduced in size during the 19th century. Rubens completed a pen and brown ink study for the painting, details removed include the bottom of the Marchesas floor-length wedding gown as the painting has been cut just below her knees and the architecture that formed the backdrop. Writing in The Burlington Magazine in 1951, Christopher Norris indicated the sketch portrayed an older than the 22-year-old Marchesa.
In the painting the Marchesa is placed in an opulent setting to convey luxury, adorned with jewels, she wears a satin and lace dress with a broad ruff round her neck. Light is used to emphasise the draping of her wedding gown. It subsequently became the property of Marchessa Brigida Spinola-Dorias second husband, probably in 1625 and it remained in the family until given to relatives of Rati Opizzone. By 1848 it was held in Paris by Simon Horsín-Déon, four years later, in 1854, the portrait was in London and sold several times before being purchased by the Samuel H. Kress foundation in 1957 who donated it to the National Gallery of Art in 1961. First exhibited in 1952 at the Minneapolis Institute of Art when it was likely in the ownership of the Duveen Brothers, since 1961 it has regularly been featured in exhibitions
The Four Philosophers
The Four Philosophers is a 1611-12 painting by Peter Paul Rubens. It is now held in the Galleria Palatina of the Palazzo Pitti in Florence and it features in the 1772 painting The Tribuna of the Uffizi by Zoffany. Beginning from left to right it shows Peter Paul, Philip Rubens, Justus Lipsius, in the background is Peter Pauls bust of Seneca, now believed to be a copy of an imaginary Hellenistic portrait of the Greek poet Hesiod. Marco Chiarini, Galleria palatina e Appartamenti Reali, Livorno 1998
Samson and Delilah (Rubens)
Samson and Delilah is a painting by the Flemish Baroque painter Peter Paul Rubens which is currently on display in the National Gallery. It dates from about 1609 to 1610, two preliminary copies of the painting exist today, an ink and wash drawing on paper, and an oil sketch on wood panel. The oil sketch is currently on display in the Cincinnati Art Museum, the painting depicts an episode from the Old Testament story of Samson and Delilah. Samson was a Hebrew hero known for fighting the Philistines, having fallen in love with Delilah, who has been bribed by the Philistines, Samson tells her the secret of his great strength, his uncut hair. Without his strength, Samson is captured by the Philistines, Rubens portrays the moment when, having fallen asleep on Delilahs lap, a young man cuts Samsons hair. Samson and Delilah are in a room, which is lit mostly by a candle held by an old woman to Delilahs left. Delilah is depicted with all of her clothes, but with her breasts exposed and her left hand is on top of Samsons right shoulder, as his left arm is draped over her legs.
The man snipping Samsons hair is crossing his hands, which is a sign of betrayal, philistine soldiers can be seen in the right-hand background of the painting. The niche behind Delilah contains a statue of the Venus, the Goddess of love, Cupids mouth is bound, rather than his eyes. This statue can be taken to represent the cause of Samsons fate, the old woman standing behind Delilah, providing further light for the scene, does not appear in the biblical narrative of Samson and Delilah. She is believed to be a procuress, and the adjacent profiles of her and Delilah may symbolise the old womans past, the painting was originally commissioned by Nicolaas II Rockox, Lord mayor of Antwerp, for his Rockox House. In addition to being a patron, Rockox was a personal friend of Rubens. The painting was intended to be placed above a 7-foot mantleshelf. The painting was sold for charity when Rockox died in 1640. In 1700, a panel named Samson and Delilah was bought by Prince Johann Adams Andreas I and this painting was likely Rubens painting.
The painting was sold in 1880 in Paris, where it was found by Ludwig Burchard in 1929. Eventually, the painting sold at auction in 1980 at Christies, purchased by the National Gallery, there has been some doubt cast over the attribution of the painting to Rubens, led by the artist and scholar of Fayum portraits Euphronsyne Doxiades. The painting was attributed to the Dutch painter Gerard van Honthorst
Juno and Argus
Juno and Argus is a 1610 painting by Peter Paul Rubens, showing Juno and Argus. It is now in the Wallraf-Richartz Museum in Cologne,5, S.49 Ekkehard Mai, Mythologie in Bildern flämischer Meister, in, Kölner Museums-Bulletin 2000/3, S. 39–43, Abb.7 Robert Floetemeyer, Delacroix Bild des Menschen. Erkundungen vor dem Hintergrund der Kunst des Rubens, Mainz 1998, S. 142–144, Abbildung 40 Fiona Healy, Rubens, a question of choice, Brepols 1997, S.75, Abb. 98, S.283 Werner Telesko, Friedrich Schlegel und die Konzeption der Kunst als Reliquie der Göttlichen Offenbarung,40 Hans Vlieghe und Ekkehard Mai, Von Bruegel bis Rubens. Das goldene Jahrhundert der flämischen Malerei, Ausstellungskatalog Köln 1992, S.348, Farbabbildung S.349,44.5 Michael Jaffé, Catalogo completo Rubens, Milano 1989, mit Abbildung, Kat-Nr. 142 Ekkehard Mai, Flämische Malerei von 1550 bis 1650, = Wallraf-Richartz-Museum Köln,1, Köln 1987, S. 32–44, Farbabbildung 25 Wallraf-Richartz-Museum Köln, Von Stefan Lochner bis Paul Cézanne.
Abbildung 135 H. G. Evers, Peter Paul Rubens, München 1942, S. 116–121, Abbildung 61