Rubens proved himself in historical painting, in landscape, in the altar image, in decorative painting, in portraiture. It is about the paintings that depict Rubensian women, and we will talk.
Rubens' special attitude towards women
Rubens's father sympathized with Protestantism and fled from Flanders, fearing the bloody reprisal of the Duke of Alba. However, he entered into an intimate relationship with a senior woman. Their relationship opened up, and the death penalty seemed inevitable. However, his wife saved his life and obtained permission to settle in the small town of Siegen. In it in 1577 Peter Paul was born. Mother, a man of rare spiritual qualities, raised in her son the ability to see the features of a sublime female ideal. This quality was characteristic of Rubens both in life and in his portrait art. Rubensovskie women are not only cheerful and playful, but more often full of restraint and peace.
Parenting and education
All future successes of Rubens: in art, in the sciences, in knowledge of languages, in diplomacy - largely took place thanks to the cares of the mother. Inner desire brought Rubens into painting. He completed his art education during a long stay in Italy. There, he not only studied with all his inherent pedantry, but also worked hard and fruitfully.
Genoa
The portrait of the Marquise of Veronica Spinola Doria, dating from 1607-1608, is undoubtedly the work of a mature master who already fully reflects the concept of Rubensian women.
The young woman was the daughter of Condotier Ambrogio Spinola. Her portrait is supposed to have been commissioned by her fiance in a wedding attire. A red carnation is visible in the hairstyle, which was believed at that time to protect against evil. The marquise is absolutely calm. Eyes look directly and lively at the viewer, a restrained smile plays on the lips. The Republic of Genoa is a thriving port, gave women a lot of constitutional freedoms, it was a paradise for the fairer sex. The girl is used to respect and worship. Her aristocratic posture speaks of self-respect. The exotic parrot sitting on the back of the chair 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 sophistication and luxury, Rubens with perfect skill portrays the marquise's rich outfit - a luxurious silk dress and gold embroidery on it, as well as a shiny, iridescent expensive pearl necklace. Peter Paul Rubens, whose paintings became an example of a baroque portrait in Italy and subsequently throughout the world, gained confidence, creative authority and fame.
Antwerp
In it, Archbishop Albert and his wife Isabella become the patrons of Rubens. Rubens women are full of inner freedom. An example is the “ceremonial portrait of Isabella”, solved in exquisite burgundy-golden tones.
The Archduke is depicted in full growth. With the inherent grandeur of greatness, she is full of calm. Her light figure in a golden-brown robe embroidered with gold and silver stands out in relief against a maroon velvet background framed by lighter draperies. She calmly laid one hand on a table covered with a patterned red tablecloth, and the other hand holds a silver satin shawl. Lace cuffs and collar are carefully drawn. An oval, regular face full of dignity. A modest smooth hairstyle is crowned with a diadem. This is seen by her audience and Peter Paul Rubens, whose paintings combine theatricality and realism.
In the gazebo from honeysuckle
Having married, Rubens writes his portrait with his young and beloved wife.
In this picture, he not only shows restrained tenderness and respect, but also obvious prosperity and wealth. This is transmitted through the clothing of a young couple. Rubensovskiy women come to the viewer through the perfect image of Isabella. She is dressed in a long wide burgundy satin skirt, from under which the lower blue peeps. A lace air collar and a cap under the yellow hat complete the look. Precious bracelets and rings also emphasize the status and position of the young couple. They are sitting in a gazebo of honeysuckle, which should be associated with the Golden Age and the earthly paradise.
Queen
The ceremonial portrait of Maria Medici represents in all its glory the forms of Rubensian women.
This youthful gray-haired lady by the standards of the present time is too full. But the second chin, a beautiful full neck, accentuated by a pearl necklace and pearl pear-shaped earrings, reveals the noble expression of her face. A high lace collar slightly opens the lush chest. The blue-black dress and black headpiece show the whiteness of the skin and the delicate blush that this regal lady has preserved. Her whole figure is placed on a simple golden ocher background that does not interfere with any detail — neither beautiful airy white cuffs, nor snow-white hands with beautiful long fingers. The picture is not overloaded with details, as is often the case with other works depicting Rubens women. The master’s paintings are always full of variety and expressiveness, but various techniques are used for this.
The art of Rubens forever glorified the Flemings, their cheerfulness, industriousness, desire to use all the gifts given to man by nature.