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VI Summarize the text.

VII Topics for discussion

1.The theoretical basis ofPoussin's art.

2.The role of music in Poussin's paintings.

3.Poussin's artistic influence.

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UNIT XII RUBENS (1577-1640)

Peter Paul Rubens exercised in Flanders a great stylistic authority. Born near Cologne, the son of a Protestant emigre from Antwerp, he spent his childhood in Germany. He received a thorough grounding in Latin and in theology, spent a few months as a page to a countess, and grew up as an unparalleled combination of scholar, diplomat and painter. Rubens spoke and wrote six modern languages, and was probably the most learned artist of all time. His house in Antwerp was a factory from which massive works emerged in a never-ending stream. Although most paintings were designed by Rubens in rapidly painted colour sketches on wood, all the large ones were painted by pupils and then retouched by the master.

Rubens was the man of extraordinary character and intelligence. One visitor recounted how Rubens could listen to a reading of Roman history in Latin, carry on a learned conversation, paint a picture, and dictate a letter all at the same time.

Rubens first emerged on the international scene during his visit to Italy in 1600 where he remained for eight years. Artistically Rubens was an adopted Italian, with little interest in the Early Netherlandish masters. With indefatigable energy he set out to conquer the fortress of Italian art. He made hundreds of drawings and scores of copies after Roman sculpture as well as paintings.

An early work in Antwerp Cathedral, the Raising of the Cross, a panel more than fifteen feet high, painted in 1609-10, shows the superhuman energy with which Rubens attacked his mighty concepts. This central panel of a triptych is a complete picture in itself. There is no hint of Caravaggio's psychological interests. The executioners, whose muscularity recalls Michelangelo's figures, raise the Cross, forming a colossal pyramid of struggling figures. In this painting the typical High Renaissance interfigural composition is transformed into a Baroque climax.

The power of Rubens can be seen at its greatness in the Fall of the Damned, painted about 1614-18, a waterspout of hurling figures raining down from Heaven, from which the rebels against divine love are forever excluded.

As his style matured, Rubens's characteristic spiral-into-the-picture lost the dark shadows of his early works and took on a Titianique richness of colour.

In 1621-25 Rubens carried out asplendid commission from Maria de'Medici, dowager Queen of France, widow of Henry IV, and regent during the minority of her son Louis XIII. Twenty one large canvases represent an allegorized version of the Queen career, showing her protected at every point by the divinities of Olympus. The series were originally installed in a ceremonial gallery in the Luxembourg Palace. All the canvases show the magnificence of Rubens's compositional inventiveness and the depth of his Classical learning; but Henry IV Receiving the Portrait of Maria de ' Medici is one of the best. The ageing King, whose helmet and shield are taken by Cupids, is advised by Minerva to accept as his second bride the Florentine princess, whose portrait is presented by Mercury, as Juno and Jupiter smile upon the proposed union. The happy promise of divine intervention; the youthful figure; the grandeur of the armoured king, and the distant landscape make this painting one of the happiest of Rubens's allegorical works. The Queen never paid for the series. But when she was driven out of France by her former protege Cardinal Richelieuw, she took refuge in Flanders. Rubens helped to support her during her twelve years of exile - a remarkable tribute not only to the generosity of a great man but also to the position of a Baroque artist who could finance a luckless monarch.

In 1630, then 53 years old Rubens married Helene Fourment, a girl of 16. The artist's happiness received its perfect embodiment in the Garden of Love painted about 1638, a fantasy in which seven of the Fourment sisters are happily disposed throughout the foreground before the

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fantastic fountain-house in Rubens's own garden in Antwerp. Cupids fly above the scene with bows, arrows , a rose garland, and torches, and on the right sits a statue of Venus astride a dolphin. All the movements of Rubens's colour, all the energy of his composition are summed up in the radiance of the picture, the happiest Baroque testament to the redeeming power of love.

Make sure you know how to pronounce the/allowing words:

Antwerp [P{ntwýp]; Luxembourg [Plöks@mbýg]; Cologne [k@Pl@un]; Protestant [Pprotist@nt]; emigre [Pemigrei]; Medici [Pmedi¶Ö]; dowager [Pdau@dÆ@]; protege [Ppr@uteÆei]; Richelieuw [PrÖS@ljý]; Juno [PdÆünou]; Minerva [miPnýv@]; Flanders [PflÓnd@z]; Louis[Plüi]; regent [PrÖdÆ@nt]

NOTES

Raising of the Cross - "Âоздвижение крестà"

Fall of the Damned - "Ïàдение проклятых"

Garden of Love - "Ñàд нàслàждений"

TASKS

I. Read the text. Mark the following statements true or false.

1.Peter Paul Rubens was the most educated person of his time.

2.Rubens was fond of High Renaissance masters.

3.As Rubens's style matured, it took on a richness of colour.

4.Rubens's figures were disembodied and mystical.

5.In 1621-25 Rubens carried out a splendid commission from Louis XIII.

6.Rubens depicted the major Roman gods in the portrait of Maria de' Medici.

II. How well have you read? Can you answer the following questions?

1.When and where did Rubens first emerge on the international scene? Where was Rubens

educated?

2.What could Rubens allegedly do at one and the same time? How did Rubens produce his works of art?

3.What is represented in the Raising of the Cross? What kind of painting is it? Where can the power of Rubens be seen? What is depicted in this painting?

5.How did the Michelangelo and the Titian influence Rubens's works of art? In what way did Rubens's works differ from the masterpieces of the Renaissance masters?

6.What do twenty one large canvases present? What is the best painting? What does it portray? What gods and goddesses are depicted there? How are they shown? What do they symbolize? What makes this painting one of the happiest of Rubens's allegorical works? How long did Rubens support the dowager Queen of France? What did it show?

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Ïитер Ïàул Ðубенс, крупнейший флàмàндский художник XVII в., был одним из сàмых обрàзовàнных людей своего времени. Ïервые годы своей творческой жизни Ðубенс провел в Èтàлии. Â Âенеции он изучàл рàботы Òициàнà, в Ðиме - произведения Ìикелàнджело. Â Èтàлии Ðубенс быстро стàл знàменитым. Ñ 1601 г. он - придворный художник герцогà Ãон-зàгà в Ìàнтуе. Â 1608 г. Ðубенс вернулся нà родину во Ôлàндрию. Îн много рàботàл нàд монументàльными произведениями. Íà одном из них - àлтàрном обрàзе "Âоздвижение крестà" - изобрàжен рàспятый Õристос. Â 1621-1625 гг. Ðубенс получил зàкàз нà цикл из 21 кàртины "Æизнь Ìàрии Ìедичи" от фрàнцузской королевы, вдовы Ãенрихà IV, для укрàшения Ëюксембургского дворцà. Ýто - блистàтельное творение монументàльнодекорàтивного искусствà. Çдесь нàряду с àллегорическими обрàзàми и мифологическими персонàжàми Ðубенс изобрàзил реàльные исторические лицà.

Èскусство Ðубенсà - типичное вырàжение бàрокко. Õудожник чàсто писàл кàртины нà сюжеты àнтичных мифов. Ðубенс окàзàл большое влияние нà последующее рàзвитие зàпàдноевропейского искусствà.

VI. Summarize the text.

VII. Topics for discussion.

1.Rubens's mode of life and production system.

2.Rubens's style and characters.

3.Rubens as a Baroque painter.

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UNIT XIII VELAZQUEZ (1599-1660)

Diego Rodriguez de Silva у Velazquez was the greatest Spanish painter. Born in Seville, Velazquez studied with the local Mannerist Francisco Pacheco. In 1623 Velazquez was appointed court painter and settled permanently in Madrid. By 1627 he was established in the royal household and got the rank of court chamberlain. It gave him a residence attached to the palace and a studio inside it. For more than 30 years Velazquez painted King Philip IV and members of the royal family and court, produced historical, mythological, and religious pictures. His paintings were influenced by Rubens and the Venetian artists.

Velazquez never deserted the integrity of his own style. He did not adopt the characteristic devices of allegorical figures, columns, curtains of boiling clouds utilized by most Catholic painters of the seventeenth century. Velazquez was attached to nature.

He visited Italy twice and expressed a frank dislike for Raphael and thus for the Italian idealism. Velazquez admired Titian and copied Tintoretto as an exercise in freedom of the brush. Throughout his life Velazquez was deeply concerned with the principles of composition and design.

When Caravaggesques realism penetrated Spain, it was felt by the young Velazquez as a liberation. Velazquez's interpretation of this movement was original. His Triumph of Bacchus, of about 1628, contains numerous reminiscences of Titian's Bacchanal of the Andrians, reinterpreted in basically Caravaggesques terms. Bacchus is a rather soft Spanish youth, with a towel and a cloak around his waist, as if he had just climbed out of a neighbouring stream. Crowned with wine leaves himself he mischievously puts a crown upon a kneeling worshiper, who is a simple Spanish peasant. Other peasants are gathered around. One peasant with bristling moustache and a hat pushed back hands a cup of wine toward a spectator, while another tries to grab it. The proletarian invitation to join in the delights of wine is painted with a brilliance unequalled by any other Latin painter of the seventeenth century. Yet the emphasis of the solidity of flesh and rough clothing shows that Velazquez is a Mediterranean painter.

The Surrender of Breda, of 1635, is a magnificent painting. It is remarkable for its excellent equilibrium. The groups of Spanish victors and defeated Dutchmen are scrupulously equalized. The surrender is carried out with dignity unlike in the conventional representations of the glorification of the victors and the disgrace of the conquered.

After the second trip to Italy (1649-51) Velazquez painted his most complex imaginary picture, based on the myth of Arachne, The Weavers, c.1656. The central scene, the moment when Minerva turns Arachne, a mortal girl who challenged the goddess of spinning and weaving to a contest, into a spider — is depicted in the background. In the foreground the weaver's workroom is produced so convincingly that in later centuries this painting was taken for a large genre scene. The emotion of the workshop, the spinning of the wheel, the handling of the tale as an ordinary event, make this painting one of the most outstanding of Velazquez's mythological works.

Velazquez's masterpiece, and one of the most extraordinary paintings of the seventeenth century is Las Meninas (The Ladies-in-waiting), of 1656. It was initially titled The Portrait of the Family. The painter is depicted in his studio in the royal palace, at work upon a canvas, so large that it can only be this very picture, unique in scale in his entire production. In the centre the light falls on the glittering figure of the five-year-old princess, who has paid the painter a visit, accompanied by two ladies-in-waiting, one of whom kneels to give her a cup of water. On the right two dwarfs are portrayed; one is gently teasing with his foot an elderly dog. Through the open door in the background wall light falls on a court official, pausing for a moment, on the steps. Most important of all the mirror alongside the door reflects the King and Queen. who also honour the painter with their presence. Despite the apparent ease and informality of the subject, the picture is carefully