Drawings
Study for a Mary Magdalen
1592-1640, Black chalk, heightened in white, 33.4 x 24.2 cm
Male Nude Tied to Tree
c. 1600, Black chalk, with pen and brown ink, on ivory laid paper, laid down on ivory wove paper, 30.8 x 20.4 cm
Anatomical studies, leg
1600, 27,4 x 17,7 cm, Anatomical study in the tradition of Leonardo da Vinci
Three Groups of Apostles in a Last Supper (recto)
1600 - 1604, Pen and brown ink, Paul Getty Museum
The recto or front of this sheet depicts three independent groups of apostles and two faint, lightly drawn sketches all related to a representation of the Last Supper. Peter Paul Rubens drew on many Italian models, including works by Leonardo da Vinci, Caravaggio, and Michelangelo, for inspiration in depicting the individual apostles. Rubens used a thin, fine line for the monumental figures of the apostles and cross-hatching to convey their solid forms.
Three Sketches for Medea and Her Children (verso)
1600 - 1604, Pen and brown ink, Paul Getty Museum
The verso, or reverse side of the page, shows several studies of Medea and her slain children. According to Greek legend, Medea, a princess of the foreign kingdom of Colchis, was married to Jason, who eventually left her to marry a native Greek woman. A passionate and jealous woman, Medea stopped at nothing to obtain revenge, including murdering her own children. On the right, long, sweeping lines animate the figure of Medea, whose gaping mouth seems to emit anguished wails. Rubens depicted her striding forward as she roughly carries her children, their bodies limp in death.
Anatomical Studies
1600 - 1605, Pen and brown ink, Paul Getty Museum
In a technique known by the French term écorché, three figures appear as if without skin. Drawn in luminous light brown ink, the principal figure demonstrates the muscular structure of the back, buttocks, and legs. Fascinated with the structure of the human body, Peter Paul Rubens then drew two subsidiary views of the same powerful form and a detail of the left arm from a different angle.
Rubens produced this drawing sometime during an eight-year stay in Italy, and it shows the strong influence of the new approaches he learned there. The skillfully drawn forms show his complex grasp of the human body in three dimensions. The main figure's truncated right arm suggests the artist's study of broken antique statues, while the surging, heroically proportioned forms and the extensive hatching of the musculature display his familiarity with Michelangelo's drawings. Scholars believe that Rubens produced this anatomical drawing in preparation for an instructional book on human anatomy, which he never published. After the artist's death, a printer published an engraving of this drawing in the mid-1600s.
Anatomical Studies: A Left Forearm in Two Positions and a Right Forearm
1600–1608, Drawing, pen and brown ink, 27.8 x 18.6 cm, Metropolitan Museum, NY
This impressive sheet demonstrates Rubens' understanding of the human body and his commitment to rigorous anatomical study of the sort pioneered in the Italian Renaissance. The same powerful left arm and hand appears in two positions; each view exposes in detail the structure of the underlying muscles, bones, and blood vessels. A right arm and hand is
Impressum
Verlag: BookRix GmbH & Co. KG
Texte: Narim Bender
Bildmaterialien: Narim Bender
Lektorat: Blago Kirov
Übersetzung: Vasil Iotov
Tag der Veröffentlichung: 06.12.2013
ISBN: 978-3-7309-6735-5
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