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17th Century Painting from the Circle of Sir Peter Paul Rubens

About the Item

Original 17th century painting attributed to the Circle of Sir Peter Paul Rubens as confirmed by Christies London. This beautiful work of art is painted on copper and set in a hand carved 19th century ornate giltwood frame. This traditional painting is of high quality typical of the period. It is historical subject matter and titled the Abduction of the Sabine Women. Measurements framed: 27 1/2" L x 23" H x 4" D Artwork: 17 7/8" L x 13 5/8" H Peter Paul Rubens was a Flemish born artist, who made a name for himself not only in the art world, but also through this diplomatic reign. Much of his work focused on religious figures, as well as diplomatic figures of the time, and he was known for the Baroque style, and bold European style of painting, which most of his works took shape around. Although he lived a short life, he had amassed many achievements by the time of his death. In addition to being one of the most talented artists in Europe, whose work outsold other artists at the time, he was also knighted, was hired for various commissions for diplomatic figures as well as church pieces, and even after his death, his fame continued to grow in the art world. Rubens was also well known for the Baroque movement, which emphasized movement, bold color choices, and sensuality in the works. Many versions of this art subject have been painted by masters over time. During the next thirty years of his career, many well known pieces and influential pieces of the time, were delivered. Some of the most notable and most well known include: Raising of the Cross (1610) and The Rape of the Daughters of Leucippus (1617). In addition to his courtship for religious works, and altar pieces, Rubens was also highly in demand for his courtship work, and creations of some of the most well known diplomatic figures of the time. The reason for this was the allegorical connection, and the mythological ties he made, between these diplomatic figures, and gods and goddesses. This was done to juxtapose the lofty positions these leaders held, and their power over the countries which they ruled. Others include those particularly noted, Nicolas Poussin's painting. Firstly, in Poussin’s work, he used the foreground to show the actual abduction. The scene may look chaotic with bodies in various poses but a closer examination shows that it is actually well-organized. Each figure plays a part and the poses are ‘statuesque’ and with the ‘perfect’ proportion of the semi naked soldier at the forefront of the canvas. This reminiscence of Roman classical figures links us directly to the background with the building and columns being of a Roman style. While the composition may make the painting appear static, not helped by Poussin’s absence of brushstrokes creating a smooth and controlled surface, the sense of movement is brought about by the positioning of the figures. We see King Romulus standing high to the left, dressed in the red robes of leadership, as if conducting the scene and with the raised arms of several of the characters all pointing to the centre of the composition, we become more aware of their struggle as our eye is drawn to the centre of the canvas. Rubens plays with the idea of a scene within a scene by using the background to show the aftermath of the abduction with the two tribes fighting each other. The composition has a symmetry to it, despite the chaos. The central four figures lock our gaze and, as we look outwards, we notice the columns divide the picture equally. The architectural setting is not distinctly Romanesque and the costumes and finery of the women is more Flemish than classical and with a 17th century feel. We can ask whether Rubens was attempting to use this story for symbolic meaning. Here, Romulus is hidden in the shadows, whereas Poussin puts him into an elevated position, thereby creating a more sinister scene, especially where we note the states of undress that Ruben’s Sabines are portrayed and the way in which his palette is more muted than Poussin's.

Attributed to:

The Circle of Peter Paul Rubens (Artist)

Dimensions:

Height: 23 in (58.42 cm)Width: 27.5 in (69.85 cm)Depth: 4 in (10.16 cm)

Materials and Techniques:

Copper,Paint,Gilt

Place of Origin:

Netherlands

Period:

17th Century

Date of Manufacture:

17th Century