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The Decline of the Carthaginian Empire
Daniel in the Lion's Den
Daniel in the Lion's Den
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Artwork Detail
 
 
Daniel in the Lion^s Den
Item: DMP07401
Size:
(inch)
24x36
Price:
(USD)
ListPrice:$
OurPrice:$
Artist: RUBENS, Pieter Pauwel
Location: National Gallery of Art, Washington
Note: The presented price is for referrence. For complex content of the painting, manual cost evaluation will be done after the order is made. The painting will be unframed and be shipped in rolled tube.

Other size(inch)
  30x40 $697.13
  36x48 $834.91

 
Author's biography
Flemish painter who was the greatest exponent ofBaroque painting's dynamism, vitality, and sensuous exuberance. His work is a fusion of the traditions of Flemish realism with the classical tendencies of the Italian "biographl" tppabs="http:www.wga.hu/database/glossary/glossar5l#renaissance*/, 'newWin', 'scrollbars=yes,status=no,dependent=yes,screenX=0,screenY=0,width=300,height=300');w.opener=this;w.focus();return false">Renaissance. Though his masterpieces include portraits and landscapes, Rubens is perhaps best known for his religious and mythological compositions.Early lifeAlthough Rubens' father, Jan, was born a Roman Catholic, his name had appeared on a list of Calvinists as early as 1566. This accounted for the Rubens family's exile to Germany, where Peter Paul was born. Jan Rubens became a diplomatic agent and adviser to the Protestant princess Anna of Saxony (d. 1577), second wife of William the Silent, who led the resistance to Spanish rule of the Netherlands. An unfortunate pregnancy revealed the intimate extent of the relationship between this princess of the house of Orange-Nassau and Rubens' father. She obtained clemency from her husband for Jan, but he and his family were placed under house arrest at Siegen, a Nassau stronghold in Westphalia. The Rubens children were grounded in the classics by their exiled father, who was a doctor of both civil and canon law. Jan died in 1587, after he had been allowed to go to the German city of Cologne. Rubens' mother then took her four surviving children to Antwerp, where Jan had been an alderman.Antwerp trainingAt the age of 10, Peter Paul was sent with his brother Philip to a Latin school in Antwerp. In 1590, shortage of money and the need to provide a dowry for his sister Blandina forced Rubens' mother to break off his formal education and send him as a page to the Countess of Lalaing. Soon tired of courtly life, Rubens was allowed to become a painter. He was sent first to his kinsman Tobias Verhaecht, a minor painter ofMannerist landscapes. Having quickly learned the rudiments of his profession, he was apprenticed for four years to an abler master, Adam van Noort, and subsequently to Otto van Veen, one of the most distinguished of the AntwerpRomanists, a group of Flemish artists who had gone to Rome to study the art of antiquity and the Italian Renaissance.Italian periodIn May 1600, with two years' seniority as a master in the Antwerp Guild of St. Luke, Rubens set out with Deodatus del Monte, his constant traveling companion and first pupil, for the visual and spiritual adventure of Italy. He was offered employment by Vincenzo I Gonzaga, Duke of Mantua, which duchy held one of the largest and finest collections outside the Vatican of works by Italian artists. During the eight years that Rubens was to call Vincenzo his lord, he had unmatched opportunities for fulfilling his expressed intention "to study at close quarters the works of the ancient and modern masters. . . ."Rubens was sent to Rome (1601-02) by the duke to paint copies of pictures and to live under the protection of Cardinal Montalto. There, through Flemish connections, he obtained his first public commission, to paint three altarpieces for the crypt chapel of St. Helena in Santa Croce in Gerusalemme. In Rome the Bolognese painter Annibale Carracci and his assistants were at work in the gallery of the Palazzo Farnese. Their bold scale in drawing and working methods decidedly influenced the young Rubens. He assimilated Venetian colour, light, and loose application of paint first through the works of Tintoretto, then through those of Veronese, long before he could penetrate the inward meaning of Titian's art. Rubens' copies, and his reworking of drawings, offer the most complete survey of the achievement of 16th
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