Peter Paul Rubens was born in 1577 within a quaint German town called Siegen. Peter Paul Rubens was known as a Flemish artist and lived a very successful life in doing so. Peter led a wealthy life, having been raised by a family of spice merchants. His father, Jan Rubens was responsible for much of Peter’s success since birth. Peter’s father Jan, was a successful lawyer in Antwerp, Belgium, who decided to leave the city in effort to escape the religious war. Peter’s life had unexpectedly changed for the worse when his father died in 1587, with only his wife to raise Peter and his two siblings, a brother and sister.
At the age of fourteen, Peter began taking formal classes with Adam van Noort in Adams’s private studio. Peter then moved onto being an apprentice to Otto Van Veen. Van Veen contribution and dedication had a major influence on Rubens’ early style. Van Veen was also a member of the Romanists, a group of Flemish painters who studied in Italy. This group brought the influences of Renaissance painters such as Michelangelo and Raphael into their paintings. This is roughly the time when similarities between all pronoun artists concluded.
By 1598 the Guild of St. Luke had admitted Rubens’ which enabled Peter to acquire and obtain his own studio. Peter also elected Deodat van der Mont as his own dedicated pupil. In 1600 Peter and Deodat decided to head south, settling in Venice. It was in Venice where Peter decided to study paintings by Titian, Tintoretto, and Veronese. The trio decided to travel to Mantua, this is when began the next chapter in Rubens intriguing and colorful adventure. Peter was hired to re-create renderings of Renaissance paintings.
Although Rubens’ had been known throughout Europe as a legendary and admirable artist, it may come as some surprise that painting was seen as least of all of Peter’s talents. Peter has been a dedicated scholar, a classicist, a Christian humanist, an architect, and a negotiator. Upon arrival in Rome, Peter discovered the Baroque style practiced by Carracci and Caravaggio. He received his first commission there to paint a series of three large pictures for the Chapel of St. Helena. Around 1611, Rubens married a young woman who had given birth to Rubens first child, Clara Serena.
Rubens brother Philip had died leaving Rubens to take care of his brother’s two children. During Rubens journey, Rubens rode the coat tails of his former teacher, van Veen. Rubens remained widely recognized despite his painting of religious artwork containing the shepherd, saints and crucifixions. Peter went on and decided to open a new studio across the courtyard from his house. Among Rubens assistants were Anthony Van Dyck, a Flemish Baroque artist who became the leading court painter in England.
Van Dyck assisted Rubens in his first tapestry cycle and a series of thirty-nine (39) ceiling paintings. Shortly after, Rubens found himself consumed with many commissions both private and public. Peter was a persistent and persuasive businessman, noted as being an avid negotiator which aided him in obtaining Sir Dudley Carleton’s “rare collection of antiquities”. It’s important to note that the antiquities Rubens has acquired helped design many sculptures although he was said to have never used a chisel. March 1621, Rubens was widely known as “the painter of princes and the prince of painters”.
Rubens traveled to Paris in 1622 to help the queen of France, Mariz de’ Medice to create architectural plans for the two main galleries in Luxembourg Palace. In Paris, Rubens met Nicolos-Claude Fabri de Peiresc. It was here that Peiresc initiated Rubens’ secondary tapestry commission, “The Marriage of Constantine”. This series marks the transition from early Antwerp commissions to the high Baroque fusion of history. In 1630, Rubens remarried to Helena Fourment. Helena inspired many of Peter’s personal and public portraits.
Peter’s marriage with Helena yielded five children, of which one was born after his death. Shortly after his marriage with Helena, Peter designed his last tapestry for his father-in-law, Daniel Fourment. Prior to Rubens death he had created a painting in which titled the “Consequences of War. ” The painting struck my interest for a variety of reasons so I decided to take an endeavor into the story behind this beautiful and magnificent artwork The “Consequences of War” painting by Peter Rubens is a representation on one of the most shameful periods in European history.
The European war which spanned for thirty years, known as the Thirty Years’ war, was conducted from 1618 through 1648. The war resulted in widespread destruction across just about every major European nation. It was a time of death, starvation, sorrow, fright and agony for millions of people. With a bit of research, I was able to dig into the weeds and find true meaning of the painting. As many viewers interpret the painting to the best of the ability, accurate interpretation lies within the minds of those who seek true meaning.
Mars, the roman god of war, takes center stage in the “Consequences of War”. Mars, seen standing astride with a sword in his hand, held low, significantly pointing toward a chaotic scene of battle. Mars is looking sharply in the opposite direction as he looks at a nude depiction of Venus, known as the goddess of love. Venus’ head is resting on the back shoulder of Mars. The facial expression of Venus indicates a plea with Mars to end the chaotic madness that he had brought upon mankind. Behind and above Venus are innocent children.
The soft complexion of Venus and her angelic attendants stands in contrast to the dark, abrasive appearance of the brutally masculine and barbaric Mars. The expression of Mars may seem sympathetic towards Venus, though his body language suggests that he still relishes violent intentions as he charges into the skirmish on the right side of the painting. “Consequences of War” brings forth a color scheme that is dominated by muted grays, browns and dirty greens, but is contrasted by the fleshy bodies of Venus and the children. The blood-red robe of Mars also provides vivid relief in the center of the work.
It’s simple to find neutrality within “Consequences of War”. My initial feeling at first glance is just a marvelous dedication in battle, furthermore an abundant amount of achievement of art. Simply put, the painting portrays the violence and pain during the times. Rubens died on May 30, 1640, shortly after his creation of the “Consequences of War” painting and was buried in the church of St. James in Antwerp. Rubens successor was Jacob Jordaen since Van Dyck passed away just a year later. The influence Ruben had unintentionally left behind spread to Italy and further into the late Baroque paintings.
Rubens achieved so much in his life that he was believed to have embodied the Baroque fulfillment of a Renaissance Man. An interesting asset about the “Consequences of War” painting was the fact that Rubens’ attached commentary. Although lengthy, his commentary is well worth the read. I quoted the commentary directly from a blog resource I found on the internet. “The principal figure is Mars, who has left the open temple of Janus (which in time of peace, according to Roman custom, remained closed) and rushes forth with shield and blood-stained sword, threatening the people with great disaster.
Hey pays little heed to Venus, his mistress, who, accompanied by Amors and Cupids, strives with caresses and embraces to hold him. From the other side, Mars is dragged forward by the Fury Alekto, with a torch in her hand. Near by are monsters personifying Pestilence and Famine, those inseparable partners of War. On the ground, turning her back lays a woman with a broken lute, representing Harmony, which is incompatible with the discord of War. There is also a mother with her child in her arms, indicating that fecundity, procreation and charity are thwarted by War, which corrupts and destroys everything.
In addition, one sees an architect thrown on his back, with his instruments in his hand, to show that which in time of peace is constructed for the use and ornamentation of the City, is hurled to the ground by the force of arms and falls to ruin. I believe, if I remember rightly, that you will find on the ground, under the feet of Mars a book and a drawing on paper, to imply that he treads underfoot all the arts and letters. There ought also to be a bundle of darts or arrows, with the band which held them together undone; these when bound form the symbol of Concord.
Beside them is the caduceus and an olive branch, attribute of Peace; these are also cast aside. That grief-stricken woman clothed in black, with torn veil, robbed of all her jewels and other ornaments, is the unfortunate Europe who, for so many years now, has suffered plunder, outrage, and misery, which are so injurious to everyone that it is unnecessary to go into detail. Europe’s attribute is the globe, borne by a small angel or genius, and surmounted by the cross, to symbolize the Christian world. ” In closing, Peter Rubens was one of the most well-known artists of his time.
While Peter enjoyed producing work that had positive impact to most of Europe, he was also an educated and dynamic art collector. In addition, Ruben possessed the quality that enabled him to also enjoy the works of other top artists during that time. An article found on the web states that “due to the fact that Peter had ties with so many political figures of that time, he had very little trouble in selling his art pieces; in fact, most of the works he sold, were highly priced for the time, which eventually led to his fortune and reputation as an artist of the time” (peterpaulrubens. et p. 8). Rubens was the epitome of a classic humanist.
Rubens exemplified fine art; there was no other artist of any generation that possessed the skills, dedication, devotion, and passion for paint. Rubens work was so powerful; it would be tough to argue that there wasn’t a figure in his life that hasn’t been affected by Rubens in one way or another. The list of names of those who were directly impacted by Rubens can be a topic of an essay alone, but all were overwhelmingly influenced by Rubens.
I chose this article because of the name Rubens decided to give this painting. As an Active Duty Military veteran of our United States Army for over seven years, the name was somewhat symbolic in nature. “Consequences of War” struck my curiosity, the painting itself which is beautiful and amazing I knew also had to have some story to compliment it. Society will often have their own perception on what “war” is, the need for such war, and if war is ever won or lost.
Who are the good guys, who are the bad? In today’s world, we allow the influence of media and politics to dictate our own opinions of war and perhaps even the outcome. Looking back to the era in which this painting was created, although political figures stood tall, our judgment and interpretation relied heavily on the meaning and stories of art. I hope you enjoyed this article, I know the journey that this painting has taken me on has been interesting and unforgettable.
