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Follower of PETER PAUL RUBENS, (Siegen, Germany, 1577 - Antwerp, Belgium, 1640); 18th-19th
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Beschreibung
Follower of PETER PAUL RUBENS, (Siegen, Germany, 1577 - Antwerp, Belgium, 1640); 18th-19th centuries
"Portrait of Isabella of Bourbon.
Oil on canvas. Re-drawn.
Size: 48,5 x 40 cm; 70 x 62 cm (frame).
Portrait of three quarters on neutral background in reddish tone that shows a lady with the hair touched with a feather, gold earrings in the ears and a magnificent dress with a lace collar. The lady's face is clearly identifiable as the effigy of Queen Isabella of Bourbon, daughter of Henry IV of France and Marie de' Medici and wife of the future Philip IV. The present oil painting is reminiscent of the portrait in the Royal Palace collection, which was painted by Rubens. In both cases the bust of Isabella of France is portrayed, the two works have the same composition, a very similar costume and a very similar background, although in Rubens's work the curtain in the background is more defined than in the present one.
Peter Paul Rubens was a painter of the Flemish school who nevertheless competed on an equal footing with contemporary Italian artists and was of major international importance, given that his influence was also key to other schools, as in the case of the transition to the full Baroque in Spain. Although born in Westphalia, Rubens grew up in Antwerp, where his family originated, and had three teachers, the first of whom was Tobias Verhaecht, a painter of precise and meticulous technique who had travelled to Italy and who taught the young artist his first artistic rudiments. It is also possible that Rubens travelled to Italy influenced by this first master. The second was Adam van Noort, a Romanist painter who was also oriented towards Italian influence but whose language was still Mannerist and who must also have influenced the young artist to visit Italy. Finally, his third teacher was Otto van Veen, the most notable and last of them. After completing his training Rubens joined the Antwerp painters' guild in 1598. Only two years later he travelled to Italy, where he remained from 1600 to 1608, and in 1609 he returned to the Low Countries to serve the governors of Flanders, Archduke Albert and the Infanta Isabella Clara Eugenia. In addition to being a court painter, Rubens carried out diplomatic work for the court, which took him to Spain, London and Paris. In 1609 he married Isabella Brant in Antwerp and organised his workshop, recruiting excellent collaborators with whom he worked side by side, many of whom were specialist painters (Frans Snyders, Jan Brueghel de Velours, etc.). He also took on pupils and created an excellent workshop of engravers, who worked from his own drawings and under his supervision.
"Portrait of Isabella of Bourbon.
Oil on canvas. Re-drawn.
Size: 48,5 x 40 cm; 70 x 62 cm (frame).
Portrait of three quarters on neutral background in reddish tone that shows a lady with the hair touched with a feather, gold earrings in the ears and a magnificent dress with a lace collar. The lady's face is clearly identifiable as the effigy of Queen Isabella of Bourbon, daughter of Henry IV of France and Marie de' Medici and wife of the future Philip IV. The present oil painting is reminiscent of the portrait in the Royal Palace collection, which was painted by Rubens. In both cases the bust of Isabella of France is portrayed, the two works have the same composition, a very similar costume and a very similar background, although in Rubens's work the curtain in the background is more defined than in the present one.
Peter Paul Rubens was a painter of the Flemish school who nevertheless competed on an equal footing with contemporary Italian artists and was of major international importance, given that his influence was also key to other schools, as in the case of the transition to the full Baroque in Spain. Although born in Westphalia, Rubens grew up in Antwerp, where his family originated, and had three teachers, the first of whom was Tobias Verhaecht, a painter of precise and meticulous technique who had travelled to Italy and who taught the young artist his first artistic rudiments. It is also possible that Rubens travelled to Italy influenced by this first master. The second was Adam van Noort, a Romanist painter who was also oriented towards Italian influence but whose language was still Mannerist and who must also have influenced the young artist to visit Italy. Finally, his third teacher was Otto van Veen, the most notable and last of them. After completing his training Rubens joined the Antwerp painters' guild in 1598. Only two years later he travelled to Italy, where he remained from 1600 to 1608, and in 1609 he returned to the Low Countries to serve the governors of Flanders, Archduke Albert and the Infanta Isabella Clara Eugenia. In addition to being a court painter, Rubens carried out diplomatic work for the court, which took him to Spain, London and Paris. In 1609 he married Isabella Brant in Antwerp and organised his workshop, recruiting excellent collaborators with whom he worked side by side, many of whom were specialist painters (Frans Snyders, Jan Brueghel de Velours, etc.). He also took on pupils and created an excellent workshop of engravers, who worked from his own drawings and under his supervision.
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Follower of PETER PAUL RUBENS, (Siegen, Germany, 1577 - Antwerp, Belgium, 1640); 18th-19th centuries
"Portrait of Isabella of Bourbon.
Oil on canvas. Re-drawn.
Size: 48,5 x 40 cm; 70 x 62 cm (frame).
Portrait of three quarters on neutral background in reddish tone that shows a lady with the hair touched with a feather, gold earrings in the ears and a magnificent dress with a lace collar. The lady's face is clearly identifiable as the effigy of Queen Isabella of Bourbon, daughter of Henry IV of France and Marie de' Medici and wife of the future Philip IV. The present oil painting is reminiscent of the portrait in the Royal Palace collection, which was painted by Rubens. In both cases the bust of Isabella of France is portrayed, the two works have the same composition, a very similar costume and a very similar background, although in Rubens's work the curtain in the background is more defined than in the present one.
Peter Paul Rubens was a painter of the Flemish school who nevertheless competed on an equal footing with contemporary Italian artists and was of major international importance, given that his influence was also key to other schools, as in the case of the transition to the full Baroque in Spain. Although born in Westphalia, Rubens grew up in Antwerp, where his family originated, and had three teachers, the first of whom was Tobias Verhaecht, a painter of precise and meticulous technique who had travelled to Italy and who taught the young artist his first artistic rudiments. It is also possible that Rubens travelled to Italy influenced by this first master. The second was Adam van Noort, a Romanist painter who was also oriented towards Italian influence but whose language was still Mannerist and who must also have influenced the young artist to visit Italy. Finally, his third teacher was Otto van Veen, the most notable and last of them. After completing his training Rubens joined the Antwerp painters' guild in 1598. Only two years later he travelled to Italy, where he remained from 1600 to 1608, and in 1609 he returned to the Low Countries to serve the governors of Flanders, Archduke Albert and the Infanta Isabella Clara Eugenia. In addition to being a court painter, Rubens carried out diplomatic work for the court, which took him to Spain, London and Paris. In 1609 he married Isabella Brant in Antwerp and organised his workshop, recruiting excellent collaborators with whom he worked side by side, many of whom were specialist painters (Frans Snyders, Jan Brueghel de Velours, etc.). He also took on pupils and created an excellent workshop of engravers, who worked from his own drawings and under his supervision.
"Portrait of Isabella of Bourbon.
Oil on canvas. Re-drawn.
Size: 48,5 x 40 cm; 70 x 62 cm (frame).
Portrait of three quarters on neutral background in reddish tone that shows a lady with the hair touched with a feather, gold earrings in the ears and a magnificent dress with a lace collar. The lady's face is clearly identifiable as the effigy of Queen Isabella of Bourbon, daughter of Henry IV of France and Marie de' Medici and wife of the future Philip IV. The present oil painting is reminiscent of the portrait in the Royal Palace collection, which was painted by Rubens. In both cases the bust of Isabella of France is portrayed, the two works have the same composition, a very similar costume and a very similar background, although in Rubens's work the curtain in the background is more defined than in the present one.
Peter Paul Rubens was a painter of the Flemish school who nevertheless competed on an equal footing with contemporary Italian artists and was of major international importance, given that his influence was also key to other schools, as in the case of the transition to the full Baroque in Spain. Although born in Westphalia, Rubens grew up in Antwerp, where his family originated, and had three teachers, the first of whom was Tobias Verhaecht, a painter of precise and meticulous technique who had travelled to Italy and who taught the young artist his first artistic rudiments. It is also possible that Rubens travelled to Italy influenced by this first master. The second was Adam van Noort, a Romanist painter who was also oriented towards Italian influence but whose language was still Mannerist and who must also have influenced the young artist to visit Italy. Finally, his third teacher was Otto van Veen, the most notable and last of them. After completing his training Rubens joined the Antwerp painters' guild in 1598. Only two years later he travelled to Italy, where he remained from 1600 to 1608, and in 1609 he returned to the Low Countries to serve the governors of Flanders, Archduke Albert and the Infanta Isabella Clara Eugenia. In addition to being a court painter, Rubens carried out diplomatic work for the court, which took him to Spain, London and Paris. In 1609 he married Isabella Brant in Antwerp and organised his workshop, recruiting excellent collaborators with whom he worked side by side, many of whom were specialist painters (Frans Snyders, Jan Brueghel de Velours, etc.). He also took on pupils and created an excellent workshop of engravers, who worked from his own drawings and under his supervision.
9th March - Old Masters
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Aragón 346, Barcelona
Calle Velázquez 7, Madrid
Carrer de Cirilo Amorós 55, Valencia
Barcelona
08009
Spain
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