2ND HALF OF CLASS 6, FIRST HALF OF CLASS 7 REVIEWS

REMBRANDT VAN RIJNREMBRANDT VAN RIJN

--Born in Leiden, 1606--Born in Leiden, 1606--Originally studied under van--Originally studied under van SwanenburghSwanenburgh--At the age of 17 or 18, went to--At the age of 17 or 18, went to Amsterdam to study underAmsterdam to study under Lastman, a more capableLastman, a more capable mastermaster

The Money Changer The Money Changer by Rembrandt (1627)by Rembrandt (1627)

Chiaroscuro, “Tenebrism”Chiaroscuro, “Tenebrism”

Portrait of Jan Six Portrait of Jan Six (Burgomaster of (Burgomaster of Amsterdam)Amsterdam)

Early success:Early success:becomes the leadingbecomes the leadingpainter in painter in Amsterdam, Amsterdam, including portraitsincluding portraitsfor leading citizensfor leading citizensand importantand importantgroups; commissiongroups; commissionfor the House of for the House of Orange.Orange.

REMBRANDT: PORTRAITUREREMBRANDT: PORTRAITURE

Silverpoint drawing of Saskia van Silverpoint drawing of Saskia van Uylenburgh by Rembrandt (1633)Uylenburgh by Rembrandt (1633)

“ “This was drawn after my wife, This was drawn after my wife, when she was 21 years old, the when she was 21 years old, the third day after our betrothal—the third day after our betrothal—the 88thth of June, 1633.” of June, 1633.”

REMBRANDT: SASKIA REMBRANDT: SASKIA

Saskia van Uylenburgh Saskia van Uylenburgh -Cousin of an art dealer with whom -Cousin of an art dealer with whom Rembrandt lived and rented studio Rembrandt lived and rented studio space when he moved to space when he moved to Amsterdam.Amsterdam.-From a well-connected family, she -From a well-connected family, she brought him a large dowry and an brought him a large dowry and an entrée into social circles which entrée into social circles which benefited his career.benefited his career.-Frequently served as Rembrandt’s -Frequently served as Rembrandt’s model.model.

REMBRANDT: SASKIA REMBRANDT: SASKIA

REMBRANDT: THE NIGHTWATCH (1642)REMBRANDT: THE NIGHTWATCH (1642)

““The Militia Company ofThe Militia Company ofCaptain Banning Cocq”Captain Banning Cocq”

A group portrait for theA group portrait for theKloveniers militiaKloveniers militia


18 members involved 18 members involved in the commission, butin the commission, butRembrandt paints 30+Rembrandt paints 30+


Powder boy Powder boy

Extra figures: adds visualExtra figures: adds visualinterest, and also providesinterest, and also providesactive figuresactive figures


Banning Cocq: Banning Cocq: gesturing, speaking; gesturing, speaking;

as if ordering the men as if ordering the men to march out to march out


Glove: Glove: challenge challenge


Musketry:Musketry:The musket wasThe musket wasthe specialthe specialweapon of theweapon of theKloveniers militiaKloveniers militia


Laurel leaves: Laurel leaves: victory victory


Chicken, tied by its claws Chicken, tied by its claws


Insignia of the Kloveniers militiaInsignia of the Kloveniers militia

Saskia: dies in 1642. Holding a joint Saskia: dies in 1642. Holding a joint estate with Rembrandt, her will estate with Rembrandt, her will stipulated that her half did not go to stipulated that her half did not go to him, but to Titus when he married or him, but to Titus when he married or came of age, Rembrandt got only any came of age, Rembrandt got only any interest off of her half until that time. interest off of her half until that time. Further, if he were to remarry, her half Further, if he were to remarry, her half was to go to one of her sisters, and was to go to one of her sisters, and Titus’s share would be forfeit, as Titus’s share would be forfeit, as Rembrandt’s stake in the interest. Rembrandt’s stake in the interest.

Rembrandt—Financial Insolvency:Rembrandt—Financial Insolvency:-Had taken a large loan in 1639 to -Had taken a large loan in 1639 to buy the house; after 15 years had buy the house; after 15 years had only managed to pay off about only managed to pay off about a quarter of what he owed, and a quarter of what he owed, and had also been ignoring taxes and had also been ignoring taxes and interest.interest.-Selling the house would have -Selling the house would have caused potential difficulties due caused potential difficulties due to the terms of Saskia’s will, sinceto the terms of Saskia’s will, since they had owned it jointly and thus they had owned it jointly and thus it was part of Titus’s inheritance.it was part of Titus’s inheritance.-Forced in 1656 to apply for a -Forced in 1656 to apply for a cessation of goods, whereby his cessation of goods, whereby his possessions were auctioned off possessions were auctioned off by his creditors, including his by his creditors, including his paintings, drawings, and prints.paintings, drawings, and prints.

Self-Portrait, 1660 Self-Portrait, 1660 Rembrandt in the 1660s: Rembrandt in the 1660s: -Moves to a small rented -Moves to a small rented house with Titus, Hendrickje, house with Titus, Hendrickje, and his daughter Cornelia.and his daughter Cornelia.-Obliged to turn over future -Obliged to turn over future sales of art to his creditors, sales of art to his creditors, he sets up a dummy he sets up a dummy corporation with Titus and corporation with Titus and Hendrickje as “art dealers” Hendrickje as “art dealers” and Rembrandt as a salariedand Rembrandt as a salaried “ “advisor.”advisor.”-Again starts to receive -Again starts to receive important commissions, important commissions, including the Syndics of the including the Syndics of the Draper’s Guild and JuliusDraper’s Guild and Julius Civilis.Civilis.

Self-Portrait, 1660 Self-Portrait, 1660

Both Titus and Hendrickje Both Titus and Hendrickje die in 1663, leaving Cornelia die in 1663, leaving Cornelia as his only surviving family.as his only surviving family.

Rubens and his Wife Rubens and his Wife (Isabella Brant) in the (Isabella Brant) in the

Honeysuckle Bower (1609)Honeysuckle Bower (1609)

PETER PAUL RUBENSPETER PAUL RUBENS

--Born 1577 in Seigen, Germany;--Born 1577 in Seigen, Germany; his father, Jan, was a Calvinist his father, Jan, was a Calvinist and fled his native Antwerp to and fled his native Antwerp to escape religious persecution.escape religious persecution.--Jan Rubens, an attorney, had --Jan Rubens, an attorney, had originally fled to Cologne; afteroriginally fled to Cologne; after an affair with a princess to an affair with a princess to whom he served as secretary whom he served as secretary he was imprisoned and nearly he was imprisoned and nearly executed. He was released and executed. He was released and allowed to settle in Seigen.allowed to settle in Seigen.--Jan Rubens died in 1587, --Jan Rubens died in 1587, leaving his wife Maria to raise leaving his wife Maria to raise Peter Paul and his 13-year-old Peter Paul and his 13-year-old brother Philip.brother Philip.--Maria Rubens returned with --Maria Rubens returned with her sons to Antwerp.her sons to Antwerp.

RUBENS: ITALY—The Duke of MantuaRUBENS: ITALY—The Duke of Mantua

--In Venice meets Vincenzo I, --In Venice meets Vincenzo I, Duke of Mantua, who was a Duke of Mantua, who was a great patron of the arts, and is great patron of the arts, and is offered a job as one of his offered a job as one of his painters.painters.--His tasks consisted mostly of --His tasks consisted mostly of copying famous works of artcopying famous works of art and painting original portraits and painting original portraits of beautiful women for the of beautiful women for the Duke’s “Gallery of Beauties.”Duke’s “Gallery of Beauties.”--The job also gave him access --The job also gave him access to important people and art to important people and art collections (including the collections (including the Duke’s own) and the Duke’s own) and the opportunity to travel around opportunity to travel around Italy.Italy.

Self Portrait with a CircleSelf Portrait with a Circleof Friends from Mantuaof Friends from Mantua

(early 1600s)(early 1600s)

RUBENS: ITALY—Copies of Roman and Italian masters RUBENS: ITALY—Copies of Roman and Italian masters

Drawing after the central group of Drawing after the central group of Leonardo’s Battle of AnghiariLeonardo’s Battle of Anghiari

RUBENS: ITALY—PortraitsRUBENS: ITALY—Portraits

Marchesa BrigadaMarchesa BrigadaSpinola Doria (c.1606)Spinola Doria (c.1606)

RUBENS: ANTWERPRUBENS: ANTWERP

Rubens and his Wife Rubens and his Wife (Isabella Brant) in the (Isabella Brant) in the Honeysuckle Bower (1609)Honeysuckle Bower (1609)

Rubens’s own wedding Rubens’s own wedding portraitportrait

RUBENS: ANTWERP—Religious paintings RUBENS: ANTWERP—Religious paintings

The Elevation of the The Elevation of the Cross (1610-11), anCross (1610-11), analtarpiece for thealtarpiece for theChurch of St. Walburga, Church of St. Walburga, AntwerpAntwerp

Rubens’s first altarpiece Rubens’s first altarpiece in Antwerp in Antwerp

RUBENS: MYTHOLOGICAL AND HISTORY PAINTINGS RUBENS: MYTHOLOGICAL AND HISTORY PAINTINGS

Prometheus BoundPrometheus Bound(1611-12)(1611-12)

RUBENS: HUNTING SCENES RUBENS: HUNTING SCENES

Lion Hunt (c.1620?)Lion Hunt (c.1620?)

RUBENS: MEDICI CYCLE RUBENS: MEDICI CYCLE --Commissioned in 1621-22 by --Commissioned in 1621-22 by Marie de’Medici to paint a large Marie de’Medici to paint a large cycle of paintings at her new cycle of paintings at her new residence, the Palais de residence, the Palais de Luxembourg, designed in 1620 Luxembourg, designed in 1620 by Solomon de Brosse.by Solomon de Brosse.--Marie was the widow of the --Marie was the widow of the previous king, Henri IV, and the previous king, Henri IV, and the mother of the current king, Louis mother of the current king, Louis XIII. She had also served as XIII. She had also served as regent in Louis’s youth, but wasregent in Louis’s youth, but was generally disliked by the French generally disliked by the French people, even by her son. people, even by her son. --Rubens’s cycle was intended to --Rubens’s cycle was intended to glorify her and present a glorify her and present a positive image of her role in positive image of her role in French politics and society.French politics and society.

Marie de’Medici Marie de’Medici by Rubens (c.1622) by Rubens (c.1622)

MARIE DE’MEDICI MARIE DE’MEDICI

--Born in Florence, Italy, in 1573.--Born in Florence, Italy, in 1573.--Her father was Grand Duke of --Her father was Grand Duke of Tuscany and a member of the Tuscany and a member of the wealthy Medici family; upon wealthy Medici family; upon the death of Henri IV’s first wife,the death of Henri IV’s first wife, her father secured for her the her father secured for her the title of Queen of France by the title of Queen of France by the payment of a huge dowry.payment of a huge dowry.--She married Henri IV by proxy --She married Henri IV by proxy in 1600, but upon her arrival in in 1600, but upon her arrival in France things went poorly—she France things went poorly—she quarreled not just with Henri quarreled not just with Henri but openly and violently with hisbut openly and violently with his mistresses.mistresses.--Bore him a son, Louis XIII.--Bore him a son, Louis XIII.Marie de’Medici Marie de’Medici

by Rubens (c.1622) by Rubens (c.1622)

MARIE DE’MEDICI MARIE DE’MEDICI --Upon Henri’s assassination in --Upon Henri’s assassination in 1610—which she reputedly may1610—which she reputedly may have had a role in—she was have had a role in—she was recognized as the Regent of recognized as the Regent of France, who would rule the France, who would rule the country in the place of Louis XIIIcountry in the place of Louis XIII (then 9-years-old). She placed at(then 9-years-old). She placed at the head of her government her the head of her government her own lover Concini, also an own lover Concini, also an Italian.Italian.--In 1617, Louis attained full --In 1617, Louis attained full powers of king and had Concinipowers of king and had Concini assassinated and Marie assassinated and Marie banished. banished. --In 1621, due to the influence of --In 1621, due to the influence of Cardinal Richelieu, Louis Cardinal Richelieu, Louis allowed her to return to Paris. allowed her to return to Paris.


RUBENS: MEDICI CYCLE RUBENS: MEDICI CYCLE The commission:The commission:--24 paintings—21 scenes --24 paintings—21 scenes showing events from Marie’s showing events from Marie’s life and portraits of herself and life and portraits of herself and her parents (a second planned her parents (a second planned series, of events from Henri’s series, of events from Henri’s life, was never completed).life, was never completed).--Begun in 1622, completed 1625.--Begun in 1622, completed 1625.--In order to mask the often --In order to mask the often mundane and contentious mundane and contentious reality of Marie’s life, Rubens reality of Marie’s life, Rubens surrounded her with allegorical surrounded her with allegorical figures and used metaphors figures and used metaphors from classical mythology to from classical mythology to create scenes implying triumph create scenes implying triumph and apotheosis, and justified and apotheosis, and justified Marie as a symbol of virtue.Marie as a symbol of virtue.


RUBENS: MEDICI CYCLE RUBENS: MEDICI CYCLE

Scene 1: The DestinyScene 1: The Destinyof Marie de’Mediciof Marie de’Medici

Zeus and Hera look onZeus and Hera look on from abovefrom above

The Fates spin the The Fates spin the thread of Marie’s thread of Marie’s

destiny destiny The job of the third Fate, The job of the third Fate, Atropos, was to cut the Atropos, was to cut the thread of life, and her usual thread of life, and her usual attribute was scissors. Here attribute was scissors. Here she is without them, she is without them, implying the privileged and implying the privileged and immortal nature of Marieimmortal nature of Marie


Scene 2: The BirthScene 2: The Birthof Marie de’Mediciof Marie de’Medici

The goddess Juno presents the The goddess Juno presents the infant Marie to an allegorical infant Marie to an allegorical figure of the city of Florencefigure of the city of Florence


Scene 3: The Education Scene 3: The Education of Marie de’Mediciof Marie de’Medici

Apollo (the Greek patron of the arts) and Apollo (the Greek patron of the arts) and Athena (Goddess of Wisdom) help attend Athena (Goddess of Wisdom) help attend to Marie’s educationto Marie’s education

The Three Graces offerThe Three Graces offerher beautyher beauty


Scene 6: The Arrival of Scene 6: The Arrival of Marie de’Medici in Marie de’Medici in MarseillesMarseilles

A personification of FranceA personification of France welcomes herwelcomes her

Fame trumpets to alert Fame trumpets to alert France of her arrival France of her arrival

Sea gods, tritons, and Sea gods, tritons, and sirens lead her ship to sirens lead her ship to shore shore

MarieMarie


Scene 21: The Triumph of TruthScene 21: The Triumph of Truth

An allegorical figure of Truth is An allegorical figure of Truth is unveiled by time, to show that in the unveiled by time, to show that in the end time will reveal that the rupture end time will reveal that the rupture between Marie and Louis was due to between Marie and Louis was due to the falsity and scheming of others the falsity and scheming of others

Marie and Louis in Heaven; he offers Marie and Louis in Heaven; he offers her a laurel crown with two joined her a laurel crown with two joined hands and a heart inside of it hands and a heart inside of it


Louis XIIILouis XIII and and MarieMarie de’Medicide’Medici by Rubensby Rubens

1630: Marie plots a coup against Louis and his chief 1630: Marie plots a coup against Louis and his chief minister; she is again exiled, this time permanently.minister; she is again exiled, this time permanently.

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2ND HALF OF CLASS 6, FIRST HALF OF CLASS 7 REVIEWS

Entertainment & Humor