Type : Actes de la journée d’étude “Interpréter l’histoire dans les arts décoratifs”, Paris, Institut national d’histoire de l’art. Publication & Diffusion : à partir du 1er octobre 2020, bibliothèques spécialisées en histoire de l’art (ouvrage non commercialisé). Éditeur : Paris, Editions du GRHAM. ISBN: 978-2-95595461-4.
Présentation de l’éditeur :
Cet ouvrage réunit les actes de la journée d’étude organisée par le GRHAM (Groupe de Recherche en Histoire de l’Art Moderne) qui s’est tenu à Paris le 15 juin 2017. À la fois synthétiques et problématiques, les six communications rendent compte de différents aspects de l’utilisation de l’histoire dans les arts décoratifs, qu’il s’agisse de trophées, de tapisseries tissées ou peintes, de tissus ou de mobilier. Continuer la lecture de 2020 – Interpréter l’histoire dans les arts décoratifs
“Even if, by his birth, he couldn’t claim privileges from among the old and former nobility who made him feel his position, he was regarded with high esteem by sovereigns. Rubens lives and contributes to the enhancement of the art of painting. ”
Until the 14th of January 2018, the Musée du Luxembourg presents a part of the European works of Peter Paul Rubens (1577-1640). Through about sixty paintings and eighty-nine items in total, the painter’s work is viewed from the perspective of portraits for the monarchs of the great royal courts, made during his journeys or in his workshop, during the first half of the 17th century. From Italy to France, via Brussels or Spain, the artist was commissioned by the greatest Kings represented in this display through the pictorial technique of portraiture, a genre constantly evolving at this period, due in part to Ruben’s influence.
Journeys through an Europe ruled by Princes
Italy: Patronage of Duke of Mantou
Rubens came from a family of Antwerp merchants who fled the town for religious reasons before returning during the late 1580s. He was trained by Otto van Veen, known as Vaenius (1557-1629), a philosopher and mannerist painter marked by Italian influences and who encouraged his pupil to follow his training there. Rubens arrived in Italy in 1600 and stayed there until 1608. Speaking several languages including Latin, and having received a humanist education, the young painter showed a great ease in the learning of his art and was soon hired by Vincent I de Gonzague, Duke of Mantou and Montferrat (1562-1612).
The commercial documents of the Van Verren family in Oudenaarde were the point of departure of this research. They brought to light interesting new information that teaches us a lot about the production of tapestries in general. The in-depth research reveals a great deal about the customers’ wishes and trade practices at around the beginning of the 18th century.