A Popular Handbook to the National Gallery, Volume I, Foreign Schools: Including by Special Permission Notes Collected from the Works of John Ruskin
History
A Popular Handbook to the National Gallery, Volume I, Foreign Schools: Including by Special Permission Notes Collected from the Works of John Ruskin
National Gallery (Great Britain); Painting -- England -- London -- Catalogs
of himself, "amuses himself with being ambassador." "So said
one with whom, but for his own words, we might have thought
that effort had been absorbed in power, and the labour of
his art in its felicity." How hard he laboured is known by
the enormous number of his works which still survive, by the
large fortune he amassed, and by the great request in which
his talents were held. "Whatever work of his I may require,"
wrote a celebrated Antwerp printer, "I have to ask him six
months before, so as that he may think of it at leisure, and do
the work on Sundays or holidays; no week-days of his could I
pretend to get under 100 florins." But of the several thousands
of works ascribed to the master, many were painted from his
sketches by pupils and assistants. "To put it plainly, Rubens
established a picture factory at Antwerp. He was thus enabled
to paint portraits, landscapes, hunting scenes, and pictures
of _genre_, as well as to undertake several series of gigantic
decorations as important as those of Raphael or Michael
Angelo. The master made small, lively sketches of the work to
be done, the pupils laid them in, each doing what suited his
talent, while Rubens reserved to himself the duty of bringing
the picture together; in some cases by using the work beneath
as a ground for almost complete repainting, in most cases by
mainly correcting here and there, or enhancing the effect with
a few brilliant and dexterous touches" (R. A. M. Stevenson's
"_Portfolio_ monograph" on Rubens). Brueghel, Snyders, Teniers,
and Van Dyck were among his assistants. Some of Rubens's
letters contain curious information on his methods. Thus he
offers to Sir Dudley Carleton certain pictures in exchange for
a collection of antique marbles. Among them was to be "'A Last
Judgment,' begun by one of my pupils after an original which I
made of much larger size for the Prince of Neubourg, who paid
me for it 3500 florins in ready money. As the present piece is
not quite finished, I will retouch it altogether by myself, so
that it can pass for an original: 1200 florins."
Public-domain text, read in full here on John Shaqi.
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