When looking at research done about Peter Paul Rubens one
can not get around a thesis that has been raised by many scholars over the years:
Two major altarpieces, namely the "Raising of the Cross" from
1610‐1611 and "Descent from the Cross from 1611‐1614 have
been seen as opposing artworks and stand as surrogates for his Baroque and Classical phase, respectively.
How come these two artworks, finished only a few years apart from each other, gave way to such a big divide?
Is there knowledge to be gained by using traditional stylistic
terms to separate Rubens workflow into phases?
This paper will explore the divide of the two altarpieces and provide a cohesive analysis of differences, similarities, influences and innovation.
Starting with a short introduction to the historical background,
a short description is provided to lead into a selective comparison.
Table of Contents
1. INTRODUCTION
2. HISTORICAL BACKGROUND
3. THE ALTARPIECES
3.1 Elevation of the Cross, 1610-11
3.2 Descent from the Cross, 1611-14
4. COMPARISON
4.1 Subject
4.2 Composition
4.3 Lighting and Colour
4.4 Background
4.5 Commissioners
5. ANALYSIS
6. CONCLUSION
Research Objectives and Themes
This paper examines the stylistic and thematic evolution of Peter Paul Rubens by comparing two of his most significant altarpieces, the Raising of the Cross and the Descent from the Cross. It seeks to challenge the traditional dichotomy of Rubens' work as strictly divided into Baroque and Classical phases, instead investigating how these paintings integrate diverse influences and respond to the specific religious and political climate of 17th-century Antwerp.
- The relationship between Baroque dynamics and Classical aesthetics in early 17th-century art.
- The impact of Rubens' training in Italy on his compositional techniques.
- The influence of the Catholic Counter-Reformation on religious iconography.
- The role of patrons and commissioners in shaping artistic commissions.
- A comparative analysis of narrative structure, lighting, and spatial arrangement.
Excerpt from the Book
Subject
The first comparison can be made by talking about the subject or theme of these paintings: The Raising of the Cross is not satisfied with showing the moment of crucifixion itself, but relies on the dynamic time frame shortly before the iconic moment of the crucifixion. Rubens chose to depict the seconds before a still moment and therefore directly refers to the climax and movement in time. This stresses the narrative element of the image and forces the viewer to “read” the image more than to study it contemplatively. The definitive emphasis on the dynamic and climactic property of the depiction has been largely attributed as an influence gained from the artists Rubens had studied while in Italy. The emphasis on the emotiveness and the composition that is build around movement makes the subject increasingly dramatic and can be compared to the great works of Although showing Christ on the cross was not a novel subject, showing the act of him being hoisted up was. Rubens is believed to be one of the first artists to attempt this mode as a central piece. He might have been inspired by a painting Tinteretto did in 1565 called The Crucifixion (fig. 5). Although a panorama in monumental scale, Rubens must have studied it closely: maybe he found it intriguing how Tinteretto showed one of the Thieves being hoisted up on his cross just off-centre on the left hand site of the painting.
Summary of Chapters
INTRODUCTION: Establishes the research question regarding the perceived stylistic divide between Rubens' two major altarpieces.
HISTORICAL BACKGROUND: Outlines the political and religious context of the Netherlands, including the impact of the Counter-Reformation and Rubens' time in Italy.
THE ALTARPIECES: Provides a detailed descriptive overview of both the Raising of the Cross and the Descent from the Cross.
COMPARISON: Evaluates differences in subject matter, composition, lighting, background, and the influence of commissioners.
ANALYSIS: Synthesizes the findings to argue against a strict stylistic opposition, suggesting a complex blend of influences.
CONCLUSION: Summarizes the study, asserting that Rubens' work functions as a synthesis of various traditions rather than a rigid adherence to single stylistic categories.
Keywords
Rubens, Raising of the Cross, Descent from the Cross, Baroque, Classicism, Antwerp, Counter-Reformation, Altar, Composition, Chiaroscuro, Narrative, Catholic Art, Painting, Italian Influence, Religious Iconography
Frequently Asked Questions
What is the primary focus of this research paper?
The paper focuses on comparing two major altarpieces by Peter Paul Rubens to investigate the evolution of his style and the influences behind his work.
What are the central themes examined in the study?
The study examines the intersection of Baroque and Classical influences, the impact of the Catholic Counter-Reformation on religious art, and the specific narrative techniques used by Rubens.
What is the main research question of this work?
The work seeks to determine if traditional stylistic labels are sufficient to categorize Rubens' workflow or if his paintings represent a more nuanced blend of different artistic traditions.
Which scientific methodology is applied?
The research uses a comparative art-historical methodology, analyzing composition, thematic framing, and historical context through existing scholarly literature and visual analysis.
What does the main body of the text cover?
The main body covers the historical background, detailed physical descriptions of the altarpieces, and a side-by-side comparison of their aesthetic and thematic qualities.
Which keywords best describe this study?
Key terms include Rubens, Baroque, Classicism, Antwerp, Counter-Reformation, and Altar painting.
How does the Raising of the Cross differ in its narrative approach compared to the Descent?
The Raising focuses on the dynamic, climactic moment before the crucifixion to engage the viewer in the action, whereas the Descent emphasizes a moment of stillness and classicist grief.
What role did Italian art play in Rubens' artistic development?
Rubens' time in Italy exposed him to artists like Titian, Veronese, and Tintoretto, whose influences are visible in his use of movement, dynamic composition, and dramatic lighting.
How did the political climate of the 17th century influence the commissions?
The Counter-Reformation effort to re-establish Catholic identity through art provided a demand for monumental, spiritually-focused altarpieces in the Netherlands.
- Arbeit zitieren
- Anonym (Autor:in), 2015, Rubens’ "Raising of the Cross" and "Descent from the Cross", München, GRIN Verlag, https://www.hausarbeiten.de/document/293857
