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The Physicality of Rubens‟ Human Bodies: Visuality And

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The Physicality of Rubens‟ Human Bodies: Visuality And THE PHYSICALITY OF RUBENS‟ HUMAN BODIES: VISUALITY AND MEDICINE IN EARLY MODERN EUROPE AIKATERINI GEORGOULIA TWO VOLUMES VOLUME I PH.D. UNIVERSITY OF YORK HISTORY OF ART SEPTEMBER 2014 ABSTRACT This thesis presents new textual and visual source material for our understanding of Rubens‟ painted human bodies. It identifies hitherto unexamined socio-cultural contexts, as well as contests and revises scholarly assumptions. I maintain that Rubens‟ bodies were informed by early modern scientific practices and medical discourses. The central argument is that Rubens‟ understanding of human physicality and the contemporary engagement with basic biological processes converge in his painted bodies. The medical view of the body as a psychosomatic unity – a nexus of material and immaterial properties – opens a new investigative avenue to studies of cultural materialism. The exploration of the enmeshment of materiality and immateriality gives an insight into how and in what ways matter and image acquire meaning. I argue that the immaterial characteristics of the human body are visually integrated in canvas and paper, pigments, oils and chalk. By exploring visual and textual sources, this study proposes a larger methodological framework. It brings together visuality, materiality and textuality, providing a cross-referential reading of text and image, and using both of them as core primary material with an argumentative voice. The analysis of the visual case studies (portraiture, history and religious painting) does not draw on a larger pre-determined and extraneous context, but context is produced by the image. Therefore, I perceive context as multifarious and wide-ranging. My approach responds to the previous lack of a broader study of Rubens‟ bodies via a medical perspective. In this way, this thesis ventures into an interdisciplinary dialogue between the art history and the history of medicine. It contributes to larger questions about the early modern body as an explanatory category for these academic disciplines. This study understands the body as a field of force through which the potential, and limitations, of artistic and scientific, celestial and secular authorities were registered, questioned and negotiated. 2 LIST OF CONTENTS VOLUME I Abstract 2 List of Contents 3 List of Illustrations 6 Acknowledgements 12 Author’s Declaration 13 Introduction 14 Chapter I The Meshing of Medicine and Painting 35 Rubens and his libri medici 39 Anatomising materiality 66 Chapter II The Painter’s Body: Ageing and the Quest for Temperamental Balance in Rubens’ Self-Portraits (1623, c. 1638) 80 The painter‟s body in the prime of life 85 The ageing body of the artist: “nisi ut, cum hoc resciero doctior moriar” 101 The process of painting: health and image-genesis 112 Chapter III The Physician-Artist and the Anatomy of Pigments: Tracing 3 Rubens’ Conversation with Theodore de Mayerne (1629-31) 124 The sketch as a ricordo of civil conversazione and exchange 130 The Mayerne manuscript: intellectual exchange and painterly advice 138 Communicating medical identity through oil painting 153 Chapter IV The Philosopher’s Body: The Eloquence of Physiology in Rubens’ Democritus and Heraclitus (1603) and the Repercussions of Politics 171 Physiology and humoral imbalance 178 In-between bodily balance and political dissonance 190 Painting as the eye of cartography and philosophy 195 The painterly eloquence of the passions and the transformative power of painting 205 Chapter V Counter-Reformation Medicine and Nourishment: Rubens’ Altarpieces for the Jesuit Church in Antwerp 214 Rubens and the Antwerp Jesuits 219 Ignatius and Xavier at the nexus of the divine and the physical 223 The feeding of the community 229 In-between disease and healing: the ontological transformation of the body 234 Feeding the eye and the nourishing properties of painting 251 4 Conclusion 263 VOLUME II Bibliography 270 i. Primary Sources: Unpublished 270 ii. Primary Sources: Published 271 iii. Secondary Sources 289 iv. Internet Sources 341 Illustrations 343 5 LIST OF ILLUSTRATIONS 1. Title page of P. P. Rubens‟ notebook, after Rubens, Johnson manuscript, fol. 1, Courtauld Institute of Art Gallery, Samuel Courtauld Trust, London. 2. Humoral Theory (the adaptation is mine); and Caesare Ripa‟s The Four Complexions, Iconologia, London, 1709, p. 15. 3. African Fisherman (Dying Seneca), Roman 2nd century after a Hellenistic original, Louvre, Paris, black marble, enamel and alabaster, h. 118 cm. 4. P. P. Rubens, copy after African Fisherman, 1600-1608, The State Hermitage Museum, Saint Petersburg, black chalk on paper, 46 x 32 cm. 5. P. P. Rubens, The Dying Seneca, 1612-13, Alte Pinakothek, Munich, oil on panel, 181 x 152 cm. 6. P. P. Rubens, Anatomical study, c. 1600-1605, The G. Paul Getty Museum, Los Angeles, pen and brown ink, 27.9 x 18.7 cm. 7. P. P. Rubens, A left forearm in two positions and a right forearm, c. 1600-1602, The Metropolitan Museum of Art, New York, pen and brown ink, 27.8 x 18.6 cm. 8. Andreas Vesalius‟ De corporis humani fabrica, Liber duo, “Secunda musculorum tabula”, Basle, 1543, bk. 2, p. 174, 34 x 21 cm, Biu Santé Banque d‟Images et de Portraits. 9. P. P. Rubens, Flayed head of an old man, Devonshire Collection, Chatsworth. 10. P. P. Rubens, Study of a Roman Portrait Bust, Rubenshuis, Antwerp, dimensions unknown. 6 11. P. P. Rubens, Democritus and Heraclitus, 1603, Museo de Escultura, Valladolid, oil on panel, 95.4 x 124.5 cm. 12. Details of figs 4-7. 13. Willem Panneels, Three anatomical studies (after Valverde), Kongelige Kobberstiksamling, Kopenhagen, dimensions unknown. 14. Philips Galle (after Jan Stephan van Calcar), print (engraving) from Virorum Doctorum de Disciplinis benemerentium Effigies XLIIII, “Andreas Vesalius Bruxellensis”, 1572, British Museum, London, 17.5 x 12.3 cm. 15. P. P. Rubens, Ludovicus Nonnius, c. 1627, National Gallery, London, oil on panel, 124.5 x 92 cm. 16. Frontispiece of Ludovicus Nonnius‟ Diaeteticon, Antwerp, 1645. 17. Print (engraving) from Johannes Remmelinus‟ Catoptrum Microcosmicum, plate I, Augsburg, 1619, Wellcome Image Library. 18. Print (engraving) from Johannes Remmelinus‟ Catoptrum Microcosmicum, plate II, Augsburg, 1619, Wellcome Image Library. 19. Detail of the sun of fig. 17. 20. Woodcut illustration from Girolamo Mercuriale‟s De arte gymnastica libri sex, Venice, 1573, p. 148. 21. Knife for undercoating, Sloane 2052: 5r (image after Fels, 2001: 148). 22. Amputation knife, Paris, 1701-1800 (L0058146), Wellcome Image Library. 23. Amputation knife, Germany, 1701-1800 (L0058145), Wellcome Image Library. 24. P. P. Rubens, Dr Theodore Turquet de Mayerne, 1630-31, North Carolina Museum of Art, Raleigh, oil on canvas, 135.5 x 107 cm. 7 25. Detail of Rubens, Dr Theodore Turquet de Mayerne, 1630-31. 26. Detail of Rubens, Dr Theodore Turquet de Mayerne, 1630-31. 27. P. P. Rubens, Self-portrait, 1623, The Royal Collection, Her Majesty Queen Elizabeth II, London, oil on panel, 85.7 x 62.2 cm. 28. P. P. Rubens, Self-portrait, c. 1638, Kunsthistorisches Museum, Vienna, oil on canvas, 109.5 x 85 cm (photo: permission Kunsthistorisches Museum, Vienna). 29. Detail of P. P. Rubens, Self-portrait, 1623, Rubens‟ inscription, “Petrus Paullus Rubens / se ipsum expressit / A.D MDCXXIII / Aetatis Suae XXXXV”. 30. Detail of P. P. Rubens, Self-portrait, 1623. 31. P. P. Rubens, Self-portrait, c. 1615, Uffizi Gallery, Florence, oil on panel, 78 x 61 cm. 32. P. P. Rubens, Self-portrait, c. 1628-30, Rubenshuis, Antwerp, oil on panel, 61.5 x 45 cm. 33. Detail of P. P. Rubens, Self-portrait, c. 1638. 34. Johannes Wierix after Hans Vredeman de Vries published by Pieter Baltens, The Ages of Man, Forty-eight to Sixty-four Years, Antwerp, 1577, engraving, 21 x 27.2 cm. 35. Johannes Wierix after Hans Vredeman de Vries published by Pieter Baltens, The Ages of Man, Sixty-eight to Eighty Years, Antwerp, 1577, engraving, 21.2 x 27.3 cm. 36. P. P. Rubens, Het Pelsken, c. 1635-40, Kunsthistorisches Museum, Vienna, oil on panel, 175 x 83 cm. 37. P. P. Rubens, Dr Theodore Turquet de Mayerne, c. 1629-30, The British Museum, London, oil and black chalk, grey wash on paper, 31.1 x 21.8 cm. 38. Detail of P. P. Rubens, Dr Theodore Turquet de Mayerne, c. 1629-30. 8 39. P. P. Rubens, Hélène Fourment, c. 1630-31, The Samuel Courtauld Trust, The Courtauld Gallery, London, black, red and white chalk on paper, 61.2 x 55 cm. 40. P. P. Rubens, Isabella Brant, c. 1621, The British Museum, London, chalks and brown wash on paper, 38.1 x 29.4 cm. 41. P. P. Rubens, Thomas Howard, 2nd Earl of Arundel, c. 1629-30, Ashmolean Museum, Oxford, pen and brush in brown ink over black & red chalk on paper, 27.5 x 19.3cm. 42. P. P. Rubens, Thomas Howard, 2nd Earl of Arundel, c. 1629-30, The National Gallery, London, oil on canvas, 67 x 54 cm. 43. Remarks by Rubens (c. 1629-30), in Theodore Turquet de Mayerne‟s Pictoria, Sculptoria, Tinctoria…, 1620-46, MS Sloane 2052, fol. 150r, British Library, London. 44. Frontispiece of Andreas Vesalius‟ De humani corporis fabrica, Basle, 1543. 45. Self-portrait of Andreas Vesalius from De humani corporis fabrica, Basle, 1543, fig. G. 46. John I Hoskins, Sir Theodore Turquet de Mayerne, 1635, Green Templeton College, University of Oxford, oil on panel, 81 x 64 cm (one identical copy survives at the Longleat House). 47. Contribution to the album amicorum of Filips van Valckenisse I, Ms. 11. 1688, fol. 127v, Brussels, R.L.B., pen and ink on paper, 208 x 130 mm (after Dubois, 2007: no. 58, 187). 48. P. P. Rubens, Self-portrait in a circle of friends from Mantua, c. 1602-1606, Wallraf- Richartz Museum, Cologne, oil on canvas, 78 x 101 cm. 49. Democritus, detail of Democritus and Heraclitus, 1603.
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