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Rivalry in Rendering Horror 1 Rembrandt, Rubens and Tragedy Philadelphia, October 16, 2015

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Rivalry in Rendering Horror 1 Rembrandt, Rubens and Tragedy Philadelphia, October 16, 2015 Rivalry in Rendering Horror 1 Rembrandt, Rubens and Tragedy Philadelphia, October 16, 2015 Eric Jan Sluijter Universiteit van Amsterdam , [email protected] 2 Rembrandt, The Blinding of Samson, 1636, 205 x 272 cm. Frankfurt am Main, Städel Museum 3 Christopher Atkins, The Wrath of the Gods, Masterpieces by Rubens, Michelangelo and Titian, (112 pp., 50 ill. in color) 4 Peter Paul Rubens, Prometheus Bound, begun 1611-1612, completed 1618, 242.5 x 209.5 cm. Philadelphia, Philadelphia Museum of Art 5 Karel van Mander in Het Schilder-Boeck (The Book of Painting), Haarlem 1604: “Painters from the Netherlands receive praise by making landscapes, the Italians by painting well men and gods, [...] the Italian has brains in his head [...] the Netherlandish painter has ingenuity in his hand [...].” ... titlepage Michiel Cocxie, The Death of Abel, 1539, 151 x 125 cm. Madrid, Museo del Prado Maarten van Heemskerck, Christ on the Cross, and scenes from The Passion, 1538-1541, Linköping, Cathedral 6 Frans Floris, Fall of the Rebel Angels, 1554, 310 x 220 cm. Antwerp, Royal Museum of Fine Arts Cornelis Cornelisz van Haarlem, The Massacre of the Innocents, 1591, 268 x 257 cm. Haarlem, Frans Hals Museum 7 Hendrick Goltzius after Cornelis Cornelisz van Haarlem, Tantalus, Tityus, Icarus, Dirck Volckertsz Coornhert after Maarten van Phaeton, 1588, 31 à 34 cm (diameter). Engravings Heemskerck, The Dangers of Human Ambition, 1549, 28.7 x 43.6 cm. Engraving Hendrick Goltzius, Titus Manlius Torquatus and Horatius Cocles, 1586, from a series of 8 Roman Heroes, 35.3 x 23.5 cm. Engravings Hendrick Goltzius, Hercules and Cacus, 1588, 40.7 x 33.4 cm. Chiaroscuro woodcut 8 Peter Paul Rubens, Prometheus Bound, Rembrandt, The Blinding of Samson, 1636, 205 x 272 cm. begun 1611-1612, completed 1618, Frankfurt am Main, Städel Museum 242.5 x 209.5 cm. Philadelphia, Philadelphia Museum of Art Peter Paul Rubens (1577-1640) Rembrandt van Rijn (1606-1669) 9 Joost van den Vondel (1589-1679) the most important Dutch poet and playwright of the 17th century For example: in the introduction of one of his plays, Joseph in Dothan (1640), Vondel wrote that he was inspired by a painting (see below), and in the last scene of his play : “[...] tried to follow with words the painter’s colors, drawing and rendering of the passions as closely as possible.” Theodoor Matham after Joachim von Sandrart, Joost van den Vondel, 1641 Jan Pynas, The Sons of Jacob Showing Joseph’s Bloody Coat, 1618, St. Petersburg, Hermitage 10 Peter Paul Rubens, Prometheus Bound, begun 1611-1612, completed 1618, 242.5 x 209.5 cm. Philadelphia, Philadelphia Museum of Art 11 Michelangelo, The Punishment of Tityus, 1532, black chalk on paper, 19 x 33 cm. London, The Royal Collection Nicolas Béatrizet after Michelangelo, (in reverse) The Punishment of Tityus, 29.1 x 42.0 cm. Engraving 12 Michelangelo, Haman Crucified Vatican, The Vatican Museums, Sistine Chapel Peter Paul Rubens after Michelangelo, Paris Louvre 13 Michelangelo, Haman Crucified Vatican, The Vatican Museums, Sistine Chapel (in reverse) Peter Paul Rubens after Michelangelo, Paris Louvre 14 Peter Paul Rubens after Michelangelo, Paris Louvre 15 (in reverse) The Laocoon Group, Roman copy (1st century CE), perhaps after Agesandros of The Laocoon Group, as it looked Rhodos, Athanodoros of Rhodos and Polydoros between c. 1540 and 1957 (the of Rhodos. Vatican, Vatican Museums outstretched arm was added in 1532). (as the sculpture looks since a restoration in the 1980s) 16 17 Peter Paul Rubens, The Laocoon Group, c. 1606-1608, black and white chalk, bistre wash on paper, 47.5 x 47.5 cm. Milan, Biblioteca Ambrosiana 18 Peter Paul Rubens, The Elevation of the Cross, 1610-1611, 462 x 341 cm. Antwerp, Cathedral of Our Lady ‘exemplum doloris’ 19 Peter Paul Rubens, Christ on the Cross, c. 1610-1616, 107 x 78.2 cm. Rose-Marie and Eijk van Otterloo Collection 20 Paulus Pontius after Peter Rembrandt, Christ on the Cross, Paul Rubens, Christ on the Cross, 1631, 100 x 73 cm. Le Mas 1631, 60.5 x 38.3 cm. Engraving d’Agenais, Église St-Vincent “Father, into Thy Hands I Commend My Spirit.” (Luke 23:46) “My God, My God, Why Hast Thou Forsaken Me.” (Matthew 27:46) 21 Peter Paul Rubens, Prometheus Bound, Titian, The Punishment of Tityus, 1548-1549, begun 1611-1612, completed 1618, 253 x 217 cm. Madrid, Museo del Prado 242.5 x 209.5 cm. Philadelphia, Philadelphia Museum of Art 22 MiguelMiguel Falomir,Falomir, LasLas Furias.Furias. AlegoríaAlegoría políticapolítica yy desafíodesafío arartístico,tístico, MadridMadrid 20142014 Titian, The Punishment of Tityus, 1548-1549, 253 x 217 cm. Madrid, Museo del Prado Peter Paul Rubens, Prometheus Bound, begun 1611-1612, completed 1618, 242.5 x 209.5 cm. Philadelphia, Philadelphia Cornelis Cort after Titian, Prometheus Museum of Art Bound (Tityus changed into Prometheus by adding a torch at the lower right). 38.3 x 31.4 cm. Engraving. 23 AnAn excellentexcellent bookbook onon Titian’sTitian’s paintingspaintings withwith ‘tragic’‘tragic’ subjects:subjects: ThomasThomas Puttfarken,Puttfarken, TitianTitian && TragicTragic Painting.Painting. Aristotle’sAristotle’s PoeticsPoetics andand thethe RiseRise ofof thethe ModernModern ArtistArtist,, NewNew HavenHaven andand LondonLondon 20052005 24 25 Achilles Tatius (2nd century AD): ‘[...] he, in agony is all drawn up, twisting himself on to his side, and lifts up his thigh [...] the other leg is stretched out straight down to his feet, and the tension of it can be seen actually into the toes. His torture is shown in the rest of the representation of him: his eye- brows are arched, his lips drawn up, his teeth shewn; you cannot help feel pity even for what you know is only a picture.’ 26 27 Franciscus Junius, De Schilderkonst der oude, Middelburg 1641 (English edition: The Painting of the Ancients, London 1638): “[...] in my opinion, the artists who surpass all others are those who diligently pursue the old art with a new argument, thus adroitly bestowing their paintings with the pleasurable enjoyment of dissimilar similarity.” 28 The eagle was painted by Frans Snyders 29 Theodoor Rombouts Dirck van Baburen Peter Paul Rubens 30 Luca Giordano Jusepe (José) de Ribera Gioacchino Assereto Giovanni Battista Langetti (attributed) 31 “grâce et véhémence” (in a letter of 1621 to Sir Dudley Carleton about another gruesome painting, a Lion Hunt) Jeffrey Muller, “Rubens’s Theory and Practice of the Imitation of Art,” Art Bulletin 114 (1982), 229-247 32 Guilliam van Nieulandt (1584-1635) Painter, poet and most successful playwright of ‘Senecan’ tragedies in Antwerp Livia, Antwerp 1617 Saul, Antwerp 1617 Nero, Antwerp 1618 33 34 Dominicus Baudius (1581-1613) neo-latin poet, scholar and historian, professor at the University of Leiden the last lines of his Latin poem on Rubens’s Prometheus (1612): […….] Blood flows from the chest and every part where his claws leave their mark, and his piercing eyes dart savage flames. You might think that he moves, that his feathers tremble. Horror holds captive those who stand before it. 35 Amsterdam The Hague Leiden The Netherlands (The Low Countries) Antwerp after the revolt: de facto since 1609 officially since 1648 Brussels brown: The Northern Netherlands (Republic of the Seven Provinces) – approximately the present Netherlands yellow: The Southern Netherlands (remained part of the Habsburg empire) – approximately the present Belgium and Luxemburg 36 circle of Leiden humanists who ‘promoted’ Rubens’s fame in the Republic: Dominicus Baudius (1581-1613) Petrus Scriverius (1576-1660) (based on research by Marloes Hemmer, PhD candidate Daniël Heinsius (1578-1655) Universiteit Utrecht) Sir Dudley Carleton (1573-1632), English ambassador in The Hague 1616-1625. Leiden humanists who probably spotted the talent of Rembrandt: Petrus Scriverius (and possibly Daniël Heinsius and Gerardus Vossius), plus Theodorus Schrevelius (1570-1652) Jan Orlers (1570-1646) Constantijn Huygens (1596-1687) 37 Rembrandt van Rijn born in Leiden 1606 c. 1614-1620 Latin school in Leiden c. 1620-1621 University of Leiden c. 1621-1623 pupil in Leiden of Jacob van Swanenburg c. 1623-1624 pupil in Amsterdam of Pieter Lastman 1625-1632 Leiden 1633-1669 Amsterdam The Latin school in Leiden died 1669 in Amsterdam 38 Paulus Pontius after Anthony van Dyck, engraving Constantijn Huygens (1596-1687) One of the greatest Dutch poets, humanist, composer, and diplomat; wrote in Dutch, Latin, Greek, French, Italian and English. Thomas de Keyser, Constantijn Huygens In 1618 secretary to Sir Dudley Carleton, and his clerk, 1627, as of 1630 secretary to the stadholder London, The National Gallery Prince Frederick Henry of Orange Nassau 39 Rembrandt, Judas Repentant, Returning the Thirty Pieces of Siver, 1629, panel 79 x 102.3 cm. Great Britain, Private Collection “... who raves, wails, begs forgiveness ...; his countenance wild, the hair pulled out, the clothes torn, the arms twisted, the hands pressed together until they bleed; in a blind impulse, he has fallen on his knees, his whole body contorted in pitiful hideousness.” 40 “This I compare with all beauty that has been produced through the ages. This should be a lesson for all those nitwits who say that nothing is being created or expressed nowadays that has not already been done better in antiquity.” The Resurrection, c. 1638 The Entombment, c. 1638 Munich, Alte Pinakothek “[…] these two are the ones in which the strongest and the most natural motion and emotion is observed […]” “[…] deesen twe sijnt daer die meeste ende die naetuereelste beweechgelickheijt in geopserveert is […]” Letter to Constantijn Huygens of January 1639, when Rembrandt sent these two paintings (part of the Passion series - 5 paintings - for Prince Frederick Henry). 41 H. Perry Chapman, ‘Reclaiming the Inner Rembrandt: Passion and the Early Self- Portraits,’ in: Stephanie Dickey and Herman Roodenburg (eds.), The Passions in the Arts of the Early Modern Netherlands, Netherlands Yearbook for History of Art 60 (2010), pp.
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