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 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; Luxembourg; Cologne; Protestant; emigre; Medici; dowager; protege; Richelieuw; Minerva; Flanders; Louis; regent
Raising of the Cross – «Воздвижение креста»
Fall of the Damned – «Падение проклятых»
Garden of Love – «Сад наслаждений»
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?
7. What is represented in the Garden of Love? What received its full embodiment in this picture?
III. I. Give Ritssian equivalents of the following phrases:
to exercise a great stylistic authority; a page to a countess; a never-ending stream of works; colour sketches on wood; a helmet and a shield; to emerge on the international scene; indefatigable energy; to raise the Cross; to make copies after Roman sculpture; the superhuman energy; the central panel of a triptych; to carry out a commission; dowager Queen of France; to be protected at every point by the divinities; a ceremonial gallery in the palace; conipositional inventiveness; Classical learning; the divine intervention; the years of exile; executioners; a tribute to; a Baroque artist; to receive its embodiment in; the Baroque testament; the energy of the composition; final coating; the redeeming power of love; Caravaggio's psychological interests; a complete picture in itself; a pyramid of struggling figures.
II. Give English equivalents of the following phrases:
появиться на международной арене; монументальные произведения; годы ссылки; композиционная изобретательность; классическое образование; неуемная энергия; пользоваться большим авторитетом; нескончаемый поток работ; быть защищенным со всех сторон божествами; самостоятельная картина; палачи; сделать множество рисунков; копировать древнеримские статуи; центральная часть триптиха; выполнить заказ; вклад в; могущественный заказчик; парадная галерея дворца; божественное вмешательство; получить воплощение в; напоминать фигуры Микеланджело; искупляющая сила любви; богатство цвета; вдовствующая королева; цветные наброски на дереве.
III. Make up questions with the given phrases.
IV. Arrange the following in the pairs of synonyms.
a) regent; to recount; testament; canvas; splendid; executioner;
b) murderer; queen; magnificent; to tell; picture; will.
IV. Here are descriptions of some of Rubens's works of art. Match them up to the given titles…
1. Cupids fly above the scene with bows, arrows, and torches,
2. Grotesque figures rain down from Heaven.
3. The executioners form a colossal pyramid.
4. The gods advise the King to accept her as his second bride.
a. Henry iv Receiving the Portrait of Maria de' Medici
b. Raising of the Cross
c. Garden of Love
d. Fall of the Damned
V. Translate the text into English.
Питер Паул Рубенс, крупнейший фламандский художник XVII в., был одним из самых образованных людей своего времени. Первые годы своей творческой жизни Рубенс провел в Италии. В Венеции он изучал работы Тициана, в Риме – произведения Микеланджело. В Италии Рубенс быстро стал знаменитым. С 1601 г. он – придворный художник герцога Гон-зага в Мантуе. В 1608 г. Рубенс вернулся на родину во Фландрию. Он много работал над монументальными произведениями. На одном из них – алтарном образе «Воздвижение креста» – изображен распятый Христос. В 1621-1625 гг. Рубенс получил заказ на цикл из 21 картины «Жизнь Марии Медичи» от французской королевы, вдовы Генриха iv, для украшения Люксембургского дворца. Это – блистательное творение монументально-декоративного искусства. Здесь наряду с аллегорическими образами и мифологическими персонажами Рубенс изобразил реальные исторические лица.