When looking at research done about Peter Paul Rubens one
can not get around a thesis that has been raised by many scholars over the years:
Two major altarpieces, namely the "Raising of the Cross" from
1610‐1611 and "Descent from the Cross from 1611‐1614 have
been seen as opposing artworks and stand as surrogates for his Baroque and Classical phase, respectively.
How come these two artworks, finished only a few years apart from each other, gave way to such a big divide?
Is there knowledge to be gained by using traditional stylistic
terms to separate Rubens workflow into phases?
This paper will explore the divide of the two altarpieces and provide a cohesive analysis of differences, similarities, influences and innovation.
Starting with a short introduction to the historical background,
a short description is provided to lead into a selective comparison.
Table of Contents
- INTRODUCTION
- HISTORICAL BACKGROUND
- THE ALTARPIECES
- ELEVATION OF THE CROSS, 1610-11
- DESCENT FROM THE CROSS, 1611-14
- COMPARISON
- SUBJECT
- COMPOSITION
- LIGHTING AND COLOUR
- BACKGROUND
- COMMISSIONERS
- ANALYSIS
- CONCLUSION
Objectives and Key Themes
This paper aims to explore the perceived divide between Rubens's two major altarpieces, the Raising of the Cross and the Descent from the Cross, analyzing their differences, similarities, influences, and innovations. It challenges the notion of these works representing distinct Baroque and Classical phases in Rubens's career, seeking to provide a cohesive analysis that considers their creation within a close timeframe.
- Comparison of stylistic elements in the two altarpieces.
- Analysis of the historical context surrounding the creation of the altarpieces.
- Exploration of the commissions and their impact on the artworks.
- Examination of Rubens's artistic influences and innovations.
- Re-evaluation of the chronological categorization of Rubens' work.
Chapter Summaries
INTRODUCTION: This introduction sets the stage by highlighting the existing scholarly debate surrounding Rubens's Raising of the Cross and Descent from the Cross altarpieces. It challenges the common interpretation of these works as representing separate Baroque and Classical phases, posing the question of whether stylistic categorizations accurately reflect Rubens's artistic development. The paper's objective is to provide a comprehensive analysis of the similarities and differences between the two altarpieces, considering their historical context, artistic influences, and innovations.
HISTORICAL BACKGROUND: This section provides crucial context by outlining the turbulent political and religious climate of the late 16th and early 17th centuries in the Netherlands. The Spanish recapture of Antwerp in 1585 and the subsequent resurgence of religious art are highlighted. Rubens's travels through Italy, where he studied the works of Titian, Veronese, and Tintoretto, are discussed, emphasizing his artistic development prior to his return to Antwerp in 1608 and his subsequent appointment as court painter to Archduke Albert and Archduchess Isabella. The signing of the Twelve Years' Truce and Antwerp's burgeoning economic and cultural revival are also noted as significant factors influencing the artistic landscape. The context established here is vital for understanding the commissions and the creation of the altarpieces.
THE ALTARPIECES: This chapter serves as an overview, introducing both the Elevation of the Cross and Descent from the Cross. It lays the groundwork for the detailed comparisons to follow by providing a brief description of each altarpiece's commission, its original setting, and its overall composition. The information presented here is essential for grasping the scope and significance of each artwork within the broader context of Rubens' career and artistic achievement. This section establishes the framework for the more detailed analysis in subsequent chapters.
ELEVATION OF THE CROSS, 1610-11: This section delves into the specifics of the Elevation of the Cross commission, highlighting its patrons and the original location within the now-demolished St. Walburga Church. The architectural features of the church and the altarpiece's original presentation, including the predella paintings and sculptural elements, are described. The composition of the triptych is carefully analyzed, noting the narrative flow across the three panels and Rubens's skill in creating a unified, rather than fragmented, artwork despite its three-panel structure. The detailed description of the various figures and their interactions serves to showcase Rubens's mastery of composition and his ability to convey both physical and emotional drama.
DESCENT FROM THE CROSS, 1611-14: This section focuses on the Descent from the Cross, again detailing its commission by the Guild of Harquebusiers and its intended placement within the Cathedral of Our Lady. The chapter explores the altarpiece's composition, emphasizing the narrative and emotional impact of the central scene and its relation to the scenes depicted on the wings (The Visitation and the Presentation in the Temple). The analysis would highlight how the closed and open states of the triptych create different visual experiences and narrative possibilities. The timeline of the artwork's creation is also discussed, highlighting the extended period involved.
Keywords
Peter Paul Rubens, Raising of the Cross, Descent from the Cross, Baroque, Classical, Altarpiece, Antwerp, Religious Art, Artistic Influences, Stylistic Analysis, Commission, Historical Context, Composition, Narrative, Triptych.
Frequently Asked Questions: A Comparative Analysis of Rubens's "Raising of the Cross" and "Descent from the Cross"
What is the main focus of this paper?
This paper provides a comprehensive comparative analysis of Peter Paul Rubens's two major altarpieces, the "Raising of the Cross" and the "Descent from the Cross." It challenges the conventional view of these works as representing distinct Baroque and Classical phases in Rubens's career, aiming for a cohesive analysis considering their close creation timeframe.
What are the key themes explored in the paper?
The paper explores the stylistic elements, historical context, commissions, artistic influences, and innovations present in both altarpieces. It also reevaluates the chronological categorization of Rubens's work, questioning whether simple stylistic labels accurately reflect his artistic development.
What aspects of the altarpieces are compared?
The comparison covers various aspects, including the subject matter, composition (lighting, color, background), and the commissioners' influence. The analysis considers how these factors contribute to the overall aesthetic and narrative impact of each work.
What is the historical context discussed in the paper?
The paper details the turbulent political and religious climate of the late 16th and early 17th centuries in the Netherlands, focusing on the Spanish recapture of Antwerp, the resurgence of religious art, and Rubens's travels and studies in Italy. It also highlights the significance of the Twelve Years' Truce and Antwerp's economic and cultural revival.
How are the "Raising of the Cross" and "Descent from the Cross" described individually?
Each altarpiece is described in detail, including its commission, original setting, composition, and narrative elements. The analysis considers the architectural context, the use of multiple panels (triptych structure), and the interplay of figures and their emotional impact.
What is the conclusion of the paper?
The conclusion synthesizes the findings of the comparative analysis, offering a revised understanding of the relationship between the two altarpieces and their place within Rubens's artistic development. It challenges the simplistic chronological categorization of his work and proposes a more nuanced interpretation.
What are the key words associated with this paper?
Peter Paul Rubens, Raising of the Cross, Descent from the Cross, Baroque, Classical, Altarpiece, Antwerp, Religious Art, Artistic Influences, Stylistic Analysis, Commission, Historical Context, Composition, Narrative, Triptych.
What is the structure of the paper?
The paper is structured with an introduction, a historical background section, a detailed description of the altarpieces (including individual chapters for each), a comparative analysis section, and a concluding section. A table of contents is provided for easy navigation.
What is the intended audience for this paper?
The paper is intended for academic use, supporting the structured and professional analysis of themes related to Rubens's art.
Where can I find more information about Rubens's works?
Further research can be conducted using the keywords provided in the paper, focusing on academic journals, art historical literature, and museum resources dedicated to the works of Peter Paul Rubens.
- Quote paper
- Anonym (Author), 2015, Rubens’ "Raising of the Cross" and "Descent from the Cross", Munich, GRIN Verlag, https://www.grin.com/document/293857
