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Keywords = Peter Paul Rubens

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51 pages, 60499 KiB  
Article
The Body of Christ and the Embodied Viewer in Rubens’s Rockox Epitaph
by Kendra Grimmett
Arts 2023, 12(6), 251; https://doi.org/10.3390/arts12060251 - 13 Dec 2023
Cited by 1 | Viewed by 4494
Abstract
On behalf of the Catholic Church, the Council of Trent (1545–1563) confirmed the usefulness of religious images and multisensory worship practices for engaging the bodies and the minds of congregants, and for moving pious devotees to empathize with Christ. In the center panel [...] Read more.
On behalf of the Catholic Church, the Council of Trent (1545–1563) confirmed the usefulness of religious images and multisensory worship practices for engaging the bodies and the minds of congregants, and for moving pious devotees to empathize with Christ. In the center panel of the Rockox Epitaph (c. 1613–1615), a funerary triptych commissioned by the Antwerp mayor Nicolaas Rockox (1560–1640) and his wife Adriana Perez (1568–1619) to hang over their tomb, Peter Paul Rubens (1577–1640) paints an awe-inspiring, hopeful image of the Risen Lord that alludes to the promise of humankind’s corporeal resurrection at the Last Judgment. In the wings, Rockox and Perez demonstrate affective worship with prayer aids and welcome onlookers to gaze upon Christ’s renewed body. Rubens’s juxtaposition of the eternal, incorruptible body of Jesus alongside five mortal figures—the two patrons and the three apostles, Peter, Paul, and John—prompted living viewers to meditate on their relationship with God, to compare their bodies with those depicted, and to contemplate their own embodiment and mortality. Ultimately, the idealized body of Christ reminds faithful audiences of both the corporeal renewal and the spiritual salvation made possible through Jesus’s death and resurrection. Full article
(This article belongs to the Special Issue Affective Art)
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18 pages, 3497 KiB  
Article
A Twisted Hand: Affective Iconography in Peter Paul Rubens’s Adoration of the Magi
by Koenraad Jonckheere
Arts 2023, 12(5), 189; https://doi.org/10.3390/arts12050189 - 4 Sep 2023
Viewed by 3401
Abstract
After his return from Italy in 1608, Peter Paul Rubens received a commission to depict an Adoration of the Magi for the Statenkamer in Antwerp’s Town Hall. It was the first, grand display of his stylistic and iconographic innovations. By building on unexplored [...] Read more.
After his return from Italy in 1608, Peter Paul Rubens received a commission to depict an Adoration of the Magi for the Statenkamer in Antwerp’s Town Hall. It was the first, grand display of his stylistic and iconographic innovations. By building on unexplored contemporary sources and close reading of the iconography, this article posits that Rubens’s canvas served as a questie on various matters under discussion at the time, and was designed to induce divergent affects in the beholders. Full article
(This article belongs to the Special Issue Affective Art)
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