
Baroque -II
Peter Paul Rubens
1577 – 1640
Sir Peter Paul Rubens (28 June 1577 – 30 May 1640) was a Flemish artist and diplomat. He is considered the most influential artist of the Flemish Baroque tradition. Rubens's highly charged compositions reference erudite aspects of classical and Christian history. His unique and immensely popular Baroque style emphasized movement, colour, and sensuality, which followed the immediate, dramatic artistic style promoted in the Counter-Reformation. Rubens was a painter producing altarpieces, portraits, landscapes, and history paintings of mythological and allegorical subjects. He was also a prolific designer of cartoons for the Flemish tapestry workshops and of frontispieces for the publishers in Antwerp.
He was born and raised in Germany, to parents who were refugees from Antwerp in the Duchy of Brabant in the Southern Netherlands (modern-day Belgium), returning to Antwerp at about 12. In addition to running a large workshop in Antwerp that produced paintings popular with nobility and art collectors throughout Europe, Rubens was a classically educated humanist scholar and diplomat who was knighted by both Philip IV of Spain and Charles I of England. Rubens was a prolific artist. The catalogue of his works by Michael Jaffé lists 1,403 pieces, excluding numerous copies made in his workshop.
His commissioned works were mostly history paintings, which included religious and mythological subjects, and hunt scenes. He painted portraits, especially of friends, and self-portraits, and in later life painted several landscapes. Rubens designed tapestries and prints, as well as his own house. He also oversaw the ephemeral decorations of the royal entry into Antwerp by the Cardinal-Infante Ferdinand of Austria in 1635. He wrote a book with illustrations of the palaces in Genoa, which was published in 1622 as Palazzi di Genova. The book was influential in spreading the Genoese palace style in Northern Europe. Rubens was an avid art collector and had one of the largest collections of art and books in Antwerp. He was also an art dealer and is known to have sold an important number of art objects to George Villiers, 1st Duke of Buckingham.
He was one of the last major artists to make consistent use of wooden panels as a support medium, even for very large works, but he used canvas as well, especially when the work needed to be sent a long distance. For altarpieces he sometimes painted on slate to reduce reflection problems.

Sir Peter Paul Rubens - Portrait of the Artist
1622

Lamentation over the Dead Christ
1613-14

Lamentation over the Dead Christ
1613-14

The Last Judgment
1617

The Holy Family with St Anne
c. 1630

Raising of the Cross
1610

Susanna and the Elders
1607-08

Samson and Delilah
c. 1609

Susanna and the Elders
1609-10

Daniel in the Lion's Den
c. 1615

Judith with the Head of Holofernes
c. 1616

Bathsheba at the Fountain
c. 1635

Leda and the Swan
1598-1602

Venus at her Toilet
c. 1608

The Drunken Hercules
c. 1611

The Abduction of Ganymede
1611-12

Venus, Cupid, Baccchus and Ceres
1612-13

Jupiter and Callisto
1613

Cupid Making His Bow
1614

Venus Frigida
1614

Venus and Adonis
c. 1614

Satyr and Girl
c. 1615

Diana Returning from Hunt
c. 1615

Venus at a Mirror
c. 1615

The Discovery of the Child Erichthonius
c. 1615

Boreas Abducting Oreithyia
c. 1615

Romulus and Remus
1615-16

The Drunken Silenus
1616-17

Rape of the Daughters of Leucippus
c. 1617

The Head of Medusa
c. 1617

Pan and Syrinx
1617-19

Sleeping Venus with Cupid Watched by Satyrs

The Rape of Europa
c. 1630

The Judgment of Paris
c. 1639

Tereus Confronted with the Head of his Son Itylus
1636-38

Diana and her Nymphs Surprised by the Fauns (detail)
1638-40

Bacchus
1638-40

The Three Graces
1639

The Union of Earth and Water
c. 1618

The Artist and His First Wife, Isabella Brant, in the Honeysuckle Bower
1609-10

Tarquinius and Lucretia

Kimon and Ifigeniia

Orgy

The Four Continents
c. 1615

Pastoral Scene
1636

Ermit and sleeping Angelica
1628

The Landing of Marie de Médicis at Marseilles (detail)
1623-25

Rubens with Hélène Fourment and their Son Peter Paul
1639
Cornelis de Vos
1584 – 1651
Cornelis de Vos (1584 – 9 May 1651) was a Flemish painter, draughtsman and art dealer. He was one of the leading portrait painters in Antwerp and is best known for his sensitive portraits, in particular of children and families. He was also successful in other genres including history, religious and genre painting. He was a regular collaborator with Rubens.
He was born in Hulst near Antwerp, now in the Dutch province of Zeeland. Little is known of his childhood. His father moved with his family to Antwerp in 1596. Cornelis and his younger brothers Paul and Jan (or Hans) studied under the little-known painter David Remeeus (1559–1626). In 1599 de Vos is mentioned as Remeeus' pupil while on 8 May 1604 he is referred to as the chief assistant of Remeeus. On 29 April 1604, de Vos petitioned the Antwerp City Council for a pass that would allow him to travel. This was a necessary procedure for artists who wished to be trained abroad. It is not known whether the young artist actually left the city to study abroad. De Vos joined the Guild of Saint Luke in 1608 at the age of 24. When he became a citizen of Antwerp in 1616 he listed his occupation as an art dealer.
Cornelis de Vos married the landscape painter Jan Wildens's half-sister Susanna Cock on 27 May 1617. The couple had 6 children. His sister Margaretha married the prominent animal painter Frans Snyders. These marriages confirmed and solidified de Vos' role in Antwerp's artistic life.
In 1619 de Vos served as the dean of the Guild of Saint Luke in Antwerp. The same year he petitioned the Antwerp city council for permission to frequent the Saint-Germain market in Paris as an art dealer. In 1620 de Vos was elected high dean of the Guild of Saint Luke in recognition of his status in the city.
De Vos developed a busy practice as a painter, particularly of portraits. In 1620 he painted the portrait of the painter Abraham Grapheus (Royal Museum of Fine Arts Antwerp). He donated the work to the painters' chamber of the Guild of Saint Luke. De Vos received multiple commissions for family portraits from local patrons such as the wealthy merchant Joris Vekemans who ordered a portrait cycle of his family members (including his son Jan) in 1624. In 1627 he enjoyed royal patronage when 6 royal portraits were commissioned by respectively Philip IV of Spain, the Archdukes Albert and Isabella, Henri III of France, Henry IV of France and Marie de' Medici. He also worked on commissions from religious institutions.[6] In 1628 he painted his only known landscape, a View of Hulst, which he donated to his home town where it is still displayed in the city hall.
During this period of busy activity as a painter de Vos continued to operate an art dealership. He also created works specifically for export, primarily to Spain.
Cornelis de Vos was one of the artists working on the decorations for the Joyous Entry into Antwerp of the new governor of the Habsburg Netherlands Cardinal-Infante Ferdinand in 1635. Rubens was in overall charge of this project. De Vos made decorative paintings after designs by Rubens. One of the hewn-out images that crowned the triumphal arch on the Meir, above the Huidevettersstraat, has been preserved and is attributed to the studio of de Vos (Jupiter and Juno, Royal Museum of Fine Arts Antwerp).
In the period 1636-1638 Rubens' workshop received a large commission to make mythological decorations for the hunting pavilion Torre de la Parada of the Spanish king Philip IV near Madrid. For this project de Vos, together with a number of painters from Rubens' circle, painted decorations after oil sketches by Rubens.
De Vos died in Antwerp, where he was buried in the Cathedral of Our Lady.

Cornelis de Vos - Self-Portrait of the Artist with his Wife Suzanne Cock and their Children
1630

Allegory of Transience
1630

Card Players
1630s

Magdalena and Jan-Baptist de Vos
c. 1622

Family Portrait
1631

The Triumph of Bacchus
1636-38

Birth of Venus
1636-38

Apollo and the Python
1636-38

Players and Courtesans under a Tent

Portrait of a Lady in Elegant Dress
1620s

The Sacrifice of Isaac
1630s

The Anointing of Solomon
c. 1630

The Finding of Moses
1631

Allegory of Earth, a collaboration with Paul de Vos
1650

The Four Seasons

Apollo pursuing Daphne

Allegory Of Water
Terbrugghen
1588 - 1629

Pieter Bodart's Portrait of Henric Ter Brugghen (1708), engraving after a lost drawing by Gerard Hoet
Hendrick Jansz ter Brugghen (or Terbrugghen) (1588 – 1 November 1629) was a Dutch painter of genre scenes and religious subjects. He was one of the Dutch followers of Caravaggio – the so-called Utrecht Caravaggisti. Along with Gerrit van Hondhorst and Dirck van Baburen, Ter Brugghen was one of the most important Dutch painters to have been influenced by Caravaggio.
No references to Ter Brugghen written during his life have been identified. His father Jan Egbertsz ter Brugghen, originally from Overijssel, had moved to Utrecht, where he was appointed secretary to the Court of Utrecht by the Prince of Orange, William the Silent. He had been married to Sophia Dircx. In 1588, he became bailiff to the Provincial Council of Holland in The Hague, where Hendrick was born.
The earliest brief reference to the painter is in Het Gulden Cabinet (1661) of Cornelis de Bie, where he is mistakenly referred to as Verbrugghen. Another short account is found in the Teutsche Academie (1675) by Joachim von Sandrart, where he is referred to as Verbrug. Here we learn that he studied with Abraham Bloemaert, a Mannerist painter. Sandrart also refers to the painter's "tiefsinnige, jedoch, schwermütige Gedanken in seinen Werken".
From this unsure footing, the artist's son Richard ter Brugghen sought to rehabilitate his father's reputation as a painter in the early 18th century. He secured a letter, dated 15 April 1707, from Adriaen van der Werff in Rotterdam, attesting to his appreciation of Hendrick's work. Later that year, on 5 August 1707, Richard presented the government council of Deventer with four paintings of the Evangelists, to be hung in the Town Hall as a permanent memorial to his father.
An engraving, in all likelihood commissioned by Richard ter Brugghen from Pieter Bodart, and based on an earlier drawing by Gerard Hoet, was put about in 1708. It shows an idealised portrait of Hendrick, the family coat-of-arms, and a printed caption translated from the Dutch as:
Born in Overijsel in 1588, travelled from Utrecht to Rome, and ten years later returned to Utrecht, married there, lived there interruptedly, and died at the age of 42 on 1st Nov. 1629; he was a great and famous history painter from life, painting life-size figures in the Italian manner, so very superior to all others that the famous P. P. Rubens on travelling through the Netherlands declared on coming to Utrecht that he had found only one painter, namely Henricus ter Brugghen. G. Hoet del. P. Bodart, fec.
Cornelis de Bie, in his Spiegel vande Verdrayde Werelt (1708), and Arnold Houbraken, in his De Groote Schouburgh (1718-1721), produced biographies where they repeated Richard's claims that the painter met Rubens in Rome and also worked in Naples. There was a cadet of the same name serving in the army of Ernst Casimir of Nassau-Dietz in the spring of 1607, and for this reason, Ter Brugghen is thought to have been in Italy, but only in that year, rather than as previously believed in 1604 (inferred as it was from the inscription on the Bodart print). This would certainly mean that he never met Caravaggio in Rome; that artist had fled Rome on a murder charge in 1606. However, it is certain that he was the only Dutch painter in Rome during Caravaggio's lifetime.
By 1614, Ter Brugghen was in Milan, on his way home. On 1 April 1615, Thyman van Galen and Ter Brugghen are witnesses before the court in Utrecht. He is already listed as a member of the Utrecht painter's guild in 1616, and on 15 October of that year he married Jacomijna Verbeeck, his elder brother Jan's stepdaughter.
Ter Brugghen died in Utrecht on 1 November 1629, possibly a victim of the plague.

The Annunciation
1624-25

The Deliverance of St Peter
1624

Esau Selling His Birthright
c. 1625

Boy Playing a Recorder
1621

A Laughing Bravo with a Bass Viol and a Glass
1625

The Concert
1629

Duet
1628

Girl Holding a Tankard and a Glass
1626

Jacob Reproaching Laban
1628

Unequal Couple
c. 1623

Bacchante with an Ape
(1627)

The Card Players
1623

King David Playing the Harp
1628

A LUTE PLAYER CAROUSING WITH A YOUNG WOMAN HOLDING A ROEMER

A young woman is offered pearls by an elegant gentleman
Simon Vouet
1590 – 1649
Simon Vouet (9 January 1590 – 30 June 1649) was a French painter who studied and rose to prominence in Italy before being summoned by Louis XIII to serve as Premier peintre du Roi in France. He and his studio of artists created religious and mythological paintings, portraits, frescoes, tapestries, and massive decorative schemes for the king and for wealthy patrons, including Richelieu. During this time, "Vouet was indisputably the leading artist in Paris," and was immensely influential in introducing the Italian Baroque style of painting to France. He was also, according to Pierre Rosenberg, "without doubt one of the outstanding seventeenth-century draughtsmen, equal to Annibale Carracci and Lanfranco."
Simon Vouet was born on January 9, 1590, in Paris. His father Laurent was a painter in Paris and taught him the rudiments of art. Simon's brother Aubin Vouet was also a painter, as also was Simon's wife Virginia da Vezzo, their son Louis-René Vouet, their two sons-in-law, Michel Dorigny and François Tortebat, and their grandson Ludovico Dorigny.
Simon began his career as a portrait painter. At age 14 he travelled to England to paint a commissioned portrait and in 1611 was part of the entourage of the Baron de Sancy, French ambassador to the Ottoman Empire, for the same purpose. From Constantinople he went to Venice in 1612 and was in Rome by 1614.
He remained in Italy until 1627, mostly in Rome where the Baroque style was becoming dominant. He received a pension from the King of France and his patrons included the Barberini family, Cassiano dal Pozzo, Paolo Giordano Orsini and Vincenzo Giustiniani. He also visited other parts of Italy: Venice; Bologna (where the Carracci family had their academy); Genoa (where, from 1620 to 1622, he worked for the Doria princes); and Naples.
He was a natural academic, who absorbed what he saw and studied, and distilled it in his painting: Caravaggio's dramatic lighting; Italian Mannerism; Paolo Veronese's color and di sotto in su or foreshortened perspective; and the art of Carracci, Guercino, Lanfranco and Guido Reni.
Vouet's immense success in Rome led to his election as president of the Accademia di San Luca in 1624. His most prominent official commission of the Italian period was an altarpiece for St Peter's in Rome (1625–1626), destroyed at some time after 1725.
In response to a royal summons, Vouet returned to France in 1627, where he was made Premier peintre du Roi. Louis XIII commissioned portraits, tapestry cartoons and paintings from him for the Palais du Louvre, the Palais du Luxembourg and the Château de Saint-Germain-en-Laye. In 1632, he worked for Cardinal Richelieu at the Palais-Royal and the Château de Malmaison. In 1631 he decorated the château of the président de Fourcy, at Chessy, the hôtel Bullion, the château of Marshal d'Effiat at Chilly, the hôtel of the Duc d’Aumont, the Séguier chapel, and the gallery of the Château de Wideville.

Self Portrait
1626

Virginia da Vezzo, the Artist's Wife, as the Magdalen
(c. 1627)

David with the Head of Goliath
(1620–1622)

Parnassus, or Apollo and the Muses
(c. 1640)

Mary Magdalen
(1614–1615)

Lovers
(1614–1618)

Saint Agnes
(c. 1615)

Woman Playing a Guitar
c. 1618)

The Halberdier
(c. 1615–1620)

Angel with Spear of the Passion
(1615–1625)

The Fortune-teller
(c. 1620)

The Ill-Matched Couple (Vanitas)
(c. 1621)

Judith
(1620–1622)

Judith
(c. 1620–1625)

Sophonisba Receiving the Poisoned Chalice
(c. 1623)

Portrait of Artemisia Gentileschi with Painting Implements
(c. 1623–1625)

Saint Agatha's Vision of Saint Peter in Prison
(c. 1625)

Saint Sebastian
(c. 1625)

Saint Cecilia
(c. 1626)

The Holy Family with the Infant Saint John the Baptist
(1626)

Salome
(1626–1627)

Cupid and Psyche
(1626–1629)

Time Vanquished by Love, Beauty and Hope
(1627)

Time Vanquished by Love, Venus and Hope
(1640–1645)

King David Playing the Harp
1628

The Toilet of Venus
(c. 1640)

Sleeping Venus
(1630–1640)
