Rubensovskie women. Hymn to beauty

Rubens showed himself in historical painting, in the landscape, in the altar image, in decorative painting, in a portrait. It is about the paintings on which the women of Renens are depicted, and we will speak.

The special attitude of Rubens to women

Rubens's father sympathized with Protestantism and fled Flanders, fearing the bloody reprisal of the Duke of Alba. However, he entered into an intimate relationship with a high-ranking woman. Their relationship opened, and the death penalty seemed imminent. However, his wife saved his life and obtained permission to settle in a small town of Siegen. In it, in 1577, Peter Paul was born. Mother, a man of rare spiritual qualities, brought up in his son the ability to see the features of the sublime feminine ideal. This quality was characteristic of Rubens both in life and in his portrait art. Rubensovskie women are not only cheerful and playful, but are more often full of restraint and tranquility.

Education and Education

All the future success of Rubens: in art, in science, in knowledge of languages, in diplomacy - largely took place due to the care of the mother. Internal desire led Rubens to painting. His art education he completed during a long stay in Italy. There he not only studied with all the inherent pedantry, but also worked very fruitfully.

Genoa

The portrait of the "Marquis of Veronica Spinola Doria", dating from 1607-1608, is undoubtedly the work of a mature master, which already fully reflects the notion of "Renensian women".

The young woman was the daughter of Condottier Ambrogio Spinola. Her portrait is supposed to have been ordered by her bridegroom in a wedding dress. In the hairdress, a red carnation is seen, which, it was believed at that time, protected from evil. The Marquis is absolutely calm. Eyes directly and vividly look at the viewer, on the lips is a restrained smile. The Republic of Genoa - a prosperous port, gave women many constitutional freedoms, it was a paradise for the fairer sex. The girl was used to respect and worship. Her aristocratic posture speaks of self-esteem. Seated on the back of the chair, an exotic parrot was at that time a symbol of luxury and at the same time the motive of the sweet captivity of love. Knowing how the Genoese aristocracy relates to refinement and luxury, Rubens with perfect skill depicts a rich attire of the marquise - a luxurious silk dress and gold embroidery on it, as well as a brilliant, iridescent expensive pearl necklace. Peter Paul Rubens, whose paintings became a model of the Baroque portrait in Italy and later all over the world, gained confidence, creative authority and fame.

Antwerp

In it, the patrons of Rubens are the Archduke Albert and his wife Isabella. Rubensovskie women are full of inner freedom. An example is the "Parade portrait of Isabella", decided in exquisite burgundy-golden tones.

The Archduchess is portrayed to the fullest. With the inherent grandeur of the royal people, she is full of tranquility. Her light figure in a golden brown dress, embroidered with gold and silver, is prominently displayed on a maroon velvet background framed by lighter draperies. She placed one hand on the table, covered with a patterned red tablecloth, and the other hand held a silver satin handkerchief. The cuffs and collar of lace are carefully written out. An oval face with dignified features is full of dignity. A tirade smooth hair is crowned by a diadem. This is seen by its viewers and Peter Paul Rubens, whose paintings combine theatricality and realism.

In the arbor of honeysuckle

Married, Rubens wrote his portrait with his young and beloved wife.

In this picture he not only shows restrained tenderness and respect, but also apparent prosperity and consistency. It is passed through the clothes of a young couple. Rubens' women are to the viewer through the ideal image of Isabella. She is dressed in a long wide burgundy satin skirt, from beneath which the bottom blue peeps out. The lace air collar and cap under the yellow hat complete the image. Precious bracelets and rings also emphasize the status and position of the young couple. They sit in a gazebo of honeysuckle, which should be associated with the Golden Age and the earthly paradise.

Queen

The ceremonial portrait of Maria de 'Medici represents in all its glory the shapes of the women of Renaissance.

This youthful gray-haired lady is unduly full by the standards of this time. But the second chin, a beautiful full neck, underlined by a pearl necklace and pearly pear-shaped earrings, reveals the noble expression of her face. A tall lace collar slightly opens the lush breasts. The blue-black dress and black headdress show the skin whiteness and the gentle glow that this royal person has preserved. Her whole figure is placed on a simple golden-buffy background, which does not interfere with looking at any detail - neither the beautiful airy white cuffs nor the snow-white hands with beautiful long fingers. The picture is not overloaded with details, as it often happens with other works, where the women of Renaissance are depicted. The master's paintings are always full of variety and expressiveness, but different methods are used for this.

The art of Rubens forever glorified the Flemish, their cheerfulness, diligence, desire to enjoy all the gifts that nature released to man.