Wednesday, November 29, 2006

Peter Paul Rubens

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Peter Paul Rubens

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Castor and Pollux Abduct the Daughters of Leukyppos.
c.1618. Oil on canvas.
Alte Pinakothek, Munich, Germany

The Abduction is an enthralling work that engages the viewer. In looking at the enlargement, I am drawn in by a compelling movement that everything on the canvas participates in. It galvanizes my gaze in an irresistible rotary swirl. The movements are dramatic and its dynamism seizes hold of space itself with untrammeled freedom.
The movements of the two voluptuous nudes are captured tantalizingly. It entices and conceals the temptation and seduction of the flesh. Given the masculinity of their abductors, the sisterly pairs may well be conniving parties to the abduction. But anyone acquainted with the tragic ancient legend will concede that there is more than meets the eyes, perhaps some deeper symbolism is intended: the contact between the divine and human or dualism of the sexes.
The model in the picture was none other than his wife, Helena. Her charms, full-filled womanly body features lend their spice to many of his paintings in varied themes and subjects.

The Fur Cloak (Helene Fourment).
1636-1639. Oil on panel,
Kunsthistorisches Museum, Vienna, Austria.

In what may be the boldest picture of that period, her nudity is covered only with a length of fur and as she unpretentiously turns to meet our gaze, her living breathing flesh is sensed and portrayed with overt sensuality as scarcely another artist ever dared in rendering the female body.

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