Frases de Peter Paul Rubens

Peter Paul Rubens Foto
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Peter Paul Rubens

Fecha de nacimiento: 28. Junio 1577
Fecha de muerte: 30. Mayo 1640

Peter Paul Rubens , también conocido como Pieter Paul, Pieter Pauwel, Petrus Paulus, y, en español, Pedro Pablo Rubens,[1]​ fue un pintor barroco de la escuela flamenca. Su estilo exuberante enfatiza el dinamismo, el color y la sensualidad. Sus principales influencias procedieron del arte de la Antigua Grecia, de la Antigua Roma y de la pintura renacentista, en especial de Leonardo da Vinci, de Miguel Ángel, del que admiraba su representación de la anatomía,[2]​ y sobre todo de Tiziano, al que siempre consideró su maestro y del que afirmó «con él, la pintura ha encontrado su esencia».[3]​

Trató una amplia variedad de temas pictóricos: religiosos, históricos, de mitología clásica, escenas de caza, paisajes, retratos; así como dibujos, ilustraciones para libros y diseños para tapices .[4]​ Se conservan aproximadamente mil quinientos cuadros suyos.[5]​ Una producción tan elevada fue posible a la extensión de su taller, tanto de integrantes como de proporción, donde al parecer trabajaban en cadena.[6]​ Fueron discípulos o ayudantes suyos: Jacob Jordaens, Gaspar de Crayer, Theodor van Thulden, Erasmus Quellinus el Joven, Cornelis de Vos y Anton van Dyck, cuyo trabajo fue completar varios encargos para la Corte española en Madrid.[7]​ Se conocen hasta hoy casi nueve mil dibujos de mano suya.[8]​

Fue el pintor favorito del rey Felipe IV de España, su principal cliente, que le encargó decenas de obras para decorar sus palacios y fue el mayor comprador en la almoneda de los bienes del artista que se realizó tras su fallecimiento. Como consecuencia de esto, la mayor colección de obras de Rubens se conserva hoy en el Museo del Prado, con unos noventa cuadros , la gran mayoría procedentes de la Colección Real.[9]​ Otros museos con destacada representación de su arte son el Museo Real de Bellas Artes de Amberes , la National Gallery de Londres, la Alte Pinakothek de Múnich y el Museo de Historia del Arte de Viena.[1]​

Poseía una amplia formación humanista y tuvo siempre un profundo interés por la Antigüedad clásica. "Estoy convencido de que para lograr la mayor perfección en la pintura es necesario comprender a los antiguos", afirmaba.[8]​ Dominaba diversas lenguas, incluido el latín, y llegó a ejercer como diplomático entre distintas cortes europeas.[6]​ Fue además ennoblecido tanto por Felipe IV de España como por Carlos I de Inglaterra.[1]​ El también pintor Eugène Delacroix, gran admirador suyo, lo calificó como el "Homero de la pintura",[10]​ apodo con el que es citado en ocasiones. Wikipedia

Frases Peter Paul Rubens

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„[on the high seas] the English are increasing their insolence and barbarity. [T]hey cut to pieces the captain of a ship coming from Spain and threw all the crew into the sea for having defended themselves valiantly.“

—  Peter Paul Rubens

In a letter to Pierre Dupuy, 7 June 1627; as quoted by Simon Schrama, in Rembrandt's eyes, Alfred A. Knopf - Borzoi Books, New York 1999, p. 244
1625 - 1640

„Nearby…. are monsters personifying Pestilence and Famine, those inseparable partners of War. On the ground, turning her back, lies a woman with a broken lute representing Harmony… [T]here is also a mother with a child in her arms indicating that fecundity, procreation and charity are thwarted by War, which corrupts and destroys everything.“

—  Peter Paul Rubens

Rubens is describing his painting 'The Horrors of War' https://upload.wikimedia.org/wikipedia/commons/a/a7/Rubens_-_The_Consequences_of_War.jpg 1637
In a letter to Justus Sustermans, c. 1637 (Rubens' agent at the Medici court in Florence); as quoted in Rembrandts Eyes', by w:Simon Schrama, Alfred A. Knopf, Borzoi Books, New York 1999, p. 180
Simon Schrama describes: The blue skies in the painting are overwhelmed by smoky darkness.. ..despite support from the usual team of putti and her own spectacularly opulent charms, Venus is losing the battle for Mars's attentions to the Fury Alecto
1625 - 1640

„I should not base it [ the mural-painting 'Madonna della Vallicella' Rubens painted c. 1607] on the estimate of Rome but leave it to the discretion of His Highness [the Duke of Mantua].... though the figures [but withdraw it for the light in the church was to strong there] are saints, they have no special attributes or insignia that could not be applied to any other saints of similar rank.“

—  Peter Paul Rubens

In his letter to Count Annibale Chieppio (minister of the Duke of Mantua), February 2, 1608; as quoted in Rembrandts Eyes', by w:Simon Schrama, Alfred A. Knopf, Borzoi Books, New York 1999, p. 131 (LPPR, 42)
w:Simon Schrama quotes this remark as a proof of Rubens as a sales-man who want to sell the altar-piece to the Duke of Mantua, who (as he wrote optimistically to Chieppio), had expressed an interest in having one of his paintings in his gallery. That's why Rubens emphasized the 'rich dress' of the figures
1605 - 1625

„I have neither time to live nor to write. I am therefore cheating my art by stealing a few evening hours to write this most inadequate and negligent reply to the courteous and elegant letters of yours.“

—  Peter Paul Rubens

In a letter to his friend Peiresc, Dec. 1634 - LPPR, 393; as quoted by Simon Schrama, in Rembrandt's eyes, Alfred A. Knopf - Borzoi Books, New York 1999, p. 403
At a speed which was daunting even for someone of his facility, Rubens was asked to supply the designs for four stages and five triumphal arches in the city Antwerp. Though he could rely on his scholarly friends for help with the allegorical program and his workshop for assistance in fabricating them, he still became 'overburdened' with the work
1625 - 1640

„I am by nature and inclination a peaceful man, the sworn enemy to disputes, lawsuits and quarrels both public and private.“

—  Peter Paul Rubens

In a letter to his friend Peiresc, May 1635, as quoted in 'La casa di Pietro Paolo Rubens a Roma', L'Opinione 245, 6 September, 1887
1625 - 1640

„[were I] not detained here by age and by the gout which renders me useless, I should go there to enjoy with my own eyes and admire the perfection of such worthy works.... [I pray] look upon all the marvels of your hand.... before I close my eyes forever.“

—  Peter Paul Rubens

In a letter to Francois Duquesnoy, 1639-1640 ; as quoted in Rembrandts Eyes', by w:Simon Schrama, Alfred A. Knopf, Borzoi Books, New York 1999, p. 180
The sculptor Francois Duquesnoy, then living drawing heightened with in Rome, had sent him models of work done for a tomb monument, Windsor Castle, Rubens praised them with his usual expansive generosity. Rubens had begun to resign himself to his end, but could write still some letters
1625 - 1640

„The light falls so unfavorably on the altar that one can hardly discern the figures or enjoy the beauty of color and the delicacy of the heads and draperies which I executed with great care from nature and completely successfully according to the judgement of all. Therefore, seeing that all the merit in the work is thrown away and since I cannot obtain the honor due my efforts unless the results can be seen, I do not think I will unveil it.“

—  Peter Paul Rubens

Quote of Rubens, in his letter to Count Annibale Chieppio (minister of the Duke of Mantua), February 2, 1608; as cited in Rembrandts Eyes', by w:Simon Schrama, Alfred A. Knopf, Borzoi Books, New York 1999, p. 130 (LPPR, 42)
Rubens reports in this quote about the overdoses of light, falling upon his recently-made altar-painting 'Virgin and Child Adored by Angels', (Rome, Santa Maria, Vallicella), 1607 which is fading the colors for the viewer.
1605 - 1625

„I have not yet made up my mind whether to remain in my own country Flanders or to return forever to Rome.... [I have received] an invitation on the most favorable terms.... Here they also do not fail to make every effort to keep me by every sort of compliment. The Archduke and the Most Serene Infanta have had letters written urging me to remain in their service. The offers are very generous but I have little desire to become a courtier again.“

—  Peter Paul Rubens

In his letter to Dr. Johannes Faber, 10 April 1609; in De Zuidnederlandse immigratie, 1572-1630, J. Briels, Haarlem, 1978, p. 43-44.
one of Rubens' good former companions during his stay in Rome c. 1604-1607 was Dr. Johannes Faber, the 'Aesculapius', who had cured his pleurisy then
1605 - 1625

„[those paintings that are] done entirely by my hand.... [those, ]done by the hand of a master skillfull in that department.... but this one not being finished, would be entirely retouched by my own hand, and by this means would pass as original; done by one of my pupils, but the whole retouched by my hand.“

—  Peter Paul Rubens

In a letter of 28 April, 1618, to the collector Sir Dudley Carleton; transl. from Italian, R. Saunders Magurn, The letters of Peter Paul Rubens, Cambridge Mass., 1955, p.60-61
Rubens is indicating in this letter to a good client the level of his personal involvement in several paintings which were offered then for sale. Rubens is specifying his involvement in a variety of degrees, in relation to the attribution by pupils or by other fellow-artists - like his cooperation in many paintings with Breughel, for instance
1605 - 1625

„We are exhausted [in Antwerp] and have endured so much that this war seems without purpose.... [and that it seemed] strange that Spain, which provides so little for the needs of this country.... has an abundance of means to wage an offensive war elsewhere.“

—  Peter Paul Rubens

In a letter to Pierre Dupuy, Sept. / Oct. 1627; as quoted by Simon Schrama, in Rembrandt's eyes, Alfred A. Knopf - Borzoi Books, New York 1999, p. 248
1625 - 1640

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