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Updated: June 29, 2025
Magical foreshortenings and wonderful effects of color appear to be purely incidental to the expression of a great idea. I left this painting as one should leave the work of a great religious master thinking more of Jesus and of John than of Rubens. After this we went through many galleries and churches devoted to his works; for Antwerp is Rubens's shrine.
Of scenes of peasant life, one of his earliest, and yet the most famous, is the Kermesse, which is now in the Louvre. A boisterous, merry party of about seventy persons are assembled in front of a country ale-house; several are wildly dancing in a circle, others are drinking and shouting; others, again, are making love. The Garden of Love, equally famous, was one of Rubens's latest pictures.
This drawing, then the arabesque traced in the air by Tintoret's flying figures, by Titian's forest branches; this colouring the magic conditions of light and hue in the atmosphere of Titian's Lace-girl, or Rubens's Descent from the Cross these essential pictorial qualities must first of all delight the sense, delight it as directly and sensuously as a fragment of Venetian glass; and through this delight only be the medium of whatever poetry or science may lie beyond them, in the intention of the composer.
In 1636 the King of Spain ordered from the Antwerp master fifty-six pictures illustrating the Metamorphoses of Ovid, destined for his hunting lodge near Madrid. Rubens's pupil, Van Dyck, was the accomplished type of the court painter of the period.
Rubens's conception of John is that of a vigorous and plenary manhood, whose rush is like that of a torrent, in the very moment when his great heart is breaking. He had loved his Master with a love like an eternity; he had believed him; heart and soul, mind and strength all had he given to that kingdom which he was to set up; and he had seen him die die by lingering torture.
I had two engravings that were not without merit, Poussin's Manna in the Wilderness, and the same painter's Esther before Ahasuerus; the one is driven out in shame by some old man of Rubens's, the Fall of the Manna is scattered to the winds by a Storm of Vernet's. The old straw chair is banished to the ante-room by a luxurious thing of morocco.
There" with a gesture toward Rubens's great canvas "are men that I would command. Here, I must stay, why? Because a dead man willed it so. May I wither eternally if I make not my own laws. Milo!" She clapped her hands, and in a moment the giant was before her, reverent awe in every line of his huge body. "Sultana?" "Are my beasts well fed?" "They eat like crocodiles, guzzle like swine, Sultana."
As Rubens grew in fame, he found that many were jealous of him, and on one occasion a rival proposed that he and Rubens each paint a picture upon a certain subject and leave it to judges to decide which work was the best Rubens's or his own. "No," said Rubens. "My attempts have been subjected to the scrutiny of connoisseurs in Italy and Spain.
He remained insensible to the melody of purely feminine lines; and the only reason why his transcripts from the female form are not gross like those of Flemish painters, repulsive like Rembrandt's, fleshly like Rubens's, disagreeable like the drawings made by criminals in prisons, is that they have little womanly about them.
He had snuffed also the belated paternal spark of affection which had suddenly kindled in his father's breast. "Your apostrophe, as you are pleased to term the maudlin talk of a drunken fool, is being addressed to my wife." "Well?" insolently. "Your mother, while worthy and beautiful, was not sufficiently noble to merit Rubens's brush.
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