Raising of the cross critique paper

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Raising of the cross critique paper

We spoke a little bit of Rubens before in my book review of Master of Shadows: Rubens is one of the greatest genre painters, because of his Catholicism, his stoicism and sense of order, his love of the classics, and his diligence and hard work.

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Today I want to look at one of his best early works, which took his budding fame and made it immortal. Michaelangelo Buonarotti reckoned that Flemish artists were good for nothing but landscapes, which was not strictly true, particularly if we consider Van Eycke or Jos van Cleve, or even Bosch, but it is Rubens who will put to rest this bias forever.

By the time he had gotten to Italy Rubens had already become a master at the St. The purpose of his tour in Italy, considered indispensable at this time for any artist, was refinement. To study the techniques of the great masters, to adapt them, and study antiquity.

He was able to Raising of the cross critique paper a number of commissions in the city, including at the Oratorian Church of Santa Maria in Vallicella aka Chiesa Nuova, although this commission was rejected, since he had not painted it at the site of the Church, and misjudged its scale. Between royal commissions, church commissions and even his copies of Venetian masters like Tiziano and Tintoretto, Rubens had made a name for himself in Italy.

Nevertheless, Rubens decided to stay, and attained immediate fame by painting his adoration of the Magi, to commemorate the 12 years truce between the Spanish and the Dutch.

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The twelve years truce was bringing many benefits to Antwerp and assisting in its revitalization. Antwerp had been an extremely wealthy city prior to the Reformation. The Dutch, moreover, had maintained a strict blockade of the Scheldt, the main river flowing in from the Atlantic into Antwerp and the source of its wealth through trade.

Even though the Dutch would continue to blockade the Sheldt throughout the 17th century, the 12 years truce allowed for Antwerp to recover, and emigres to return home and re-establish their industry.

This provided many opportunities for patronage of the arts. Ina commission came in from the Church of St.

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Walburga, where van der Geest was a warden, to paint the altar piece. Walburga was an anglo-saxon saint, fleeing persecution in England, and she arrived on the continent and established several monasteries in the Netherlands and Germany.

Original raising of Christ on the Cross, now in the Lourve, Paris. The commission called for Rubens to paint a huge altar scene of Christ being raised on the cross. Rubens decided to use a Triptych, which at that time, was outdated by years. It had fallen completely into disuse. Using an ancient form to re-invigorate the Church, he introduced the baroque style to the Netherlands.

Rubens would make certain to avoid the error that caused his rejection in Santa Maria in Vallicella, by painting on site.

Raising of the cross critique paper

Initially the center panel depicted Christ being raised on the cross at a 35 degree angle, with thieves being crucified in the background.The Fragile Generation Bad policy and paranoid parenting are making kids too safe to succeed. Lenore Skenazy & Jonathan Haidt from the December issue - view article in the Digital Edition.

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