Ideals of feminine beauty in the paintings of the great artist.
June 28 marks the 439 years from the birth of the famous Flemish artist Peter Paul Rubens. The debate about Rubens’s “graces” to last for decades. Nothing is so subject to frequent changes, both aesthetic ideals and canons of beauty. And this topic is haunted by the critics and art-lovers: so what is it that has brought the artist in his works – their own preferences, ideals of the Renaissance, or their ironic exaggeration.
Rubens. Perseus and Andromeda, 1620-1621 | Photo: allpainters.ru
The work of Rubens consider a link between two cultural epochs – the Renaissance and the XVII century, As you know, in the culture of the Renaissance revived the classical tradition, with their cultivation of the beauty of the human body, a celebration of freedom and harmony, the image of the Nude is just the fact that in Medieval times was banned. To replace the abstract spirituality comes the emphatic physicality, is the rehabilitation of sensual beauty. Nature now is not opposed to God, and is perceived as his incarnation on earth, as well as human beauty.
Rubens. Left – self-Portrait with his wife Isabella Brandt, 1609. Right – Sons of the artist albert and Nicholas, 1626-1627 | Photo: rybens.ru
Rubens. The judgment of Paris, 1625 | Photo: rybens.ru
Ideas of female beauty are consistent with the spirit of the era: curvy was seen as evidence of physical health and inner greatness. Brantôme wrote: “this is why women deserve preference at least for the sake of their beauty and grandeur, for these last, as for other of their perfection, they are appreciated. So much nicer to drive a high and beautiful war horse, and the last gives the rider much more fun than a little nag”. Rubens largely adhered to the aesthetics of the Renaissance, although only that you can not explain they created the ideal of beauty.
Rubens. Left – Portrait Of Isabella Brandt, 1625-1626. To the right is the Portrait of Isabella Brandt, 1626 | Photo: rybens.ru
Rubens. The judgment of Paris, 1635-1638 | Photo: gallerix.ru
Rubens also often called the founder of the Baroque in painting, although this assertion is sometimes be questioned. This is true in the case when we are talking about the splendor and richness of colour, image heavy figures in rapid motion, in moments of incredible emotional stress. One of his fans, the French NINETEENTH century painter eugène Delacroix said: “His main quality is a poignant spirit, that is, striking life.” In the work of Rubens really embodied the Baroque corporeality and heavy beauty, however, inherent in the Baroque Convention concedes he has the pressure of living reality.
Rubens. On the left the Three graces, 1639. Right – Bathsheba at the Fountain, 1635 | Photo: rybens.ru
Rubens. Venus and Adonis | Photo: artariya.ru
The Rubenesque ideal of beauty far from the classical canons, and from modern representations of it. However, his contemporaries buxom beauties seemed neither excessively overweight nor ugly. The artist himself shared the tastes of most members of his age: he depicted their “graces” with obvious admiration, without a trace of irony and without exaggeration. Every inch of their bodily imperfections discharged with such care and love that no doubt remains: Rubens really admired this type of beauty and considered him perfect for the image.
Rubens. Left – Portrait of Elena Fourmen with her first-born Frans, 1635. Right – Elena Fourmen with children Claire-Jeanne and Francois, 1636-1637 | Photo: rybens.ru
Rubens. Left – Portrait of Elena Formen in wedding attire, 1631. Right – Portrait of Elena Fourmen | Photo: gallerix.ru
Proof that the formation of his ideals was not only influenced by the Renaissance aesthetic, but also personal preference, is the fact that the artist was married to the women of this type, and all his life he wrote them with love and admiration. Features of Isabella Brandt and Helen Forman endowed female characters in many paintings of Rubens. Art historian E. Fromentin wrote: “it Seems that in the artist’s heart settled a certain type of woman, who seemed to him perfect, because by this type of beauty can be attributed equally to both of his wives. The world of Rubens was closed to everyone else.”
Rubens. Left – Coat, 1636-1638. In the centre is a self-Portrait in a hat. Right – Portrait of Elena Fourmen | Photo: gallerix.ru
Rubens. Venus and Adonis, 1935 | Photo: rybens.ru
