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Peter Paul Rubens: De Onsterfelijke Kunstenaar?

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Peter Paul Rubens: De Onsterfelijke Kunstenaar? PETER PAUL RUBENS: DE ONSTERFELIJKE KUNSTENAAR? SPOREN VAN MYTHEVORMING IN DE ZEVENTIENDE-EEUWSE RUBENSBIOGRAFIEËN DEEL 1: ONDERZOEK Hannah T’Sas Studentennummer: 01200255 Promotor: Prof. Dr. Koenraad Jonckheere Masterproef voorgelegd aan de Faculteit Letteren en Wijsbegeerte, Vakgroep Kunst,- Muziek-, en Theaterwetenschappen, voor het behalen van de graad van Master Academiejaar: 2017 – 2018 Verklaring i.v.m. auteursrecht De auteur en de promotor(en) geven de toelating deze studie als geheel voor consultatie beschikbaar te stellen voor persoonlijk gebruik. Elk ander gebruik valt onder de beperkingen van het auteursrecht, in het bijzonder met betrekking tot de verplichting de bron uitdrukkelijk te vermelden bij het aanhalen van gegevens uit deze studie. Voorwoord Een masterproef schrijven is een intensief en boeiend leerproces. Het is de kroon op het werk van een lange opleiding, die ik met vallen op staan doorworsteld heb. Het resultaat van dit hele proces zou er nooit gekomen kunnen zijn zonder de motiverende steun van anderen. Daarom zou ik aan enkele personen mijn dank willen betuigen. Allereerst bedank ik mijn promotor Prof. Dr. Koenraad Jonckheere, voor de kansen die ik kreeg en voor zijn begeleiding die hij mij gegeven heeft tijdens het schrijven van mijn masterproef. Het is mede dankzij zijn enthousiaste lessenreeksen als specialist en professor in de zeventiende-eeuwse kunst dat deze periode en in het bijzonder Rubens mij al vroeg in hun greep hadden. De omgeving van mijn stageplaats in Florence heeft deze affiniteit alleen maar gestimuleerd en deed me beseffen dat de wereld van kunstliefhebbers -en historici alle landen en talen overstijgt. De taal van de kunst spreekt en verbindt iedereen. Een tweede dank gaat uit naar familie en collega-studenten voor de steun, feedback en motivatie die zij me blijven geven zijn tijdens het schrijfproces van deze masterproef. Een gezonde maar kritische wederzijdse reflectie op je werk met een medestudent kan je een extra duwtje in de rug geven om het moment dat het onderzoek even wat stroever verloopt. In het bijzonder bedank ik mijn vader voor het nalezen van mijn masterproef op het vlak van spelling en grammatica, zijn kritische feedback en zijn verwoede pogingen om mij de beginselen van de statistiek uit te leggen. Een laatste woord van dank gaat uit naar de trouwe metgezel die doorheen het hele proces van mijn masterproef aanwezig was: Peter Paul Rubens. De schilder die vandaag de dag – en dit Barokjaar in het bijzonder – zo in de kijker staat, heeft er hoogst persoonlijk voor gezorgd dat een studente kunstwetenschappen anno 2018 zich met veel enthousiasme kan verdiepen in zijn werk en zijn persoon. En laat dat nu net de focus van dit onderzoek zijn. Inhoudstafel I. Inleiding ......................................................................................................................................... 1 II. Probleemstelling, doelstelling en onderzoeksvragen .............................................................. 3 II.1 Probleem- en doelstelling........................................................................................................ 3 II.2 Onderzoeksvragen en -strategie .............................................................................................. 4 III. Status Quaestiones .................................................................................................................... 7 IV. Methodologie ........................................................................................................................... 13 V. De ontwikkeling van de kunstenaarsmythe -en biografie........................................................ 17 V.1 Mythevorming ....................................................................................................................... 17 V.1.1 Definiëring en afbakening ................................................................................................... 17 V.1.2 Wat betekent mythevorming rond kunstenaars? .................................................................. 17 V.1.3 Ontstaan en bestendiging .................................................................................................... 18 V.1.4 Rubens wie? ......................................................................................................................... 21 V.2 Kunstenaarsbiografieën ......................................................................................................... 25 V.2.1 Ontstaan .............................................................................................................................. 25 V.2.2 Het kunstenaarsleven als literair genre ............................................................................... 26 V.2.3 De Vasari-van Mander-traditie ........................................................................................... 28 V.2.4 Franse academische debatten: Querelle du Coloris ........................................................... 30 V.3 De geboorte van de Rubensbiografie .................................................................................... 30 V.3.1 Ontstaan en ontwikkeling .................................................................................................... 30 V.3.2 Afbakening ........................................................................................................................... 31 V.3.3 Verdere verloop van de Rubensstudie ................................................................................. 33 VI. Rubens’ zeventiende-eeuwse biografen: een kennismaking ................................................ 36 VI. 1 Giovanni Baglione (1566-1643) .............................................................................................. 36 VI. 2 Johannes Meyssens (1612-1670) ............................................................................................. 38 VI. 3 Cornelis de Bie (1627-1716) .................................................................................................... 39 VI.4 Giovanni Pietro Bellori (1613-1696) ........................................................................................ 43 VI. 5 Joachim von Sandrart (1606-1688) .......................................................................................... 48 VI. 6 Filips Rubens (1611-1678) ...................................................................................................... 51 VI. 7 Roger de Piles (1635-1709) ..................................................................................................... 53 VI. 8 Isaac Bullart (1599-1672) ........................................................................................................ 57 VI. 9 André Félibien (1619-1695) .................................................................................................... 60 VI. 10 Sebastiano Resta (1635-1714) ............................................................................................... 64 VI. 11 Arnold Houbraken (1660-1719) ............................................................................................ 65 VII. Kwalitatieve analyse van de biografieën ................................................................................... 69 VI.1 Duiding ................................................................................................................................. 69 VI.2 Analyses van de biografieën ................................................................................................. 70 VI.2.1 Giovanni Baglione, Le vite de’pittori, scultori et architetti moderni (1642) ..................... 70 VI.2.2 Johannes Meyssens, Image de divers hommes d’esprit sublime, 1649 .............................. 73 VI.2.3. Cornelis de Bie, Het Gulden Cabinet Vande Edel Vry Schilder Const, 1661-1662 .......... 74 VI.2.4. Giovanni Bellori, Le Vite de’Pittori, Scultori e Architetti Moderni (1672) ...................... 78 VI.2.5. Joachim von Sandrart, Teutsche Academie, 1675 ............................................................ 83 VI.2.6. Filips Rubens, Vita Petri Pauli Rubenii, 1676 .................................................................. 89 VI.2.7. Roger de Piles, Conversations sur la connoissance de la peinture, 1677 & Abrégé de la vie des peintres, 1699 .................................................................................................................... 94 VI.2.8. Isaac Bullart, Academie Des Sciences et des Arts, 1682 ................................................ 104 VI.2.9. André Félibien, Entretien sur les Ouvrages, 1685 .......................................................... 110 VI.2.10 Sebastiano Resta, The true effigies of the most eminent painters, 1694 ........................ 114 VI.2.11 Arnold Houbraken, De Groote Schouburgh Der Nederlantsche Konstschilders, 1718-21 .................................................................................................................................................... 117 VIII. Kwantitatieve interpretatie ..................................................................................................... 125 VIII.1 Indicator 1: Titels van kunstwerken ...................................................................................... 131 VIII.2 Indicator 2: Rubens’ oeuvre ................................................................................................. 135 VIII.3 Indicator 3: Rubens als mens ...............................................................................................
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