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Page 23
which are still to be seen over the high-altar, representing the Queen of Heaven
with three Saints on either hand. He reserved for himself however the picture that
he had first painted, in which, besides the two Patrons of the church, he had ...
which are still to be seen over the high-altar, representing the Queen of Heaven
with three Saints on either hand. He reserved for himself however the picture that
he had first painted, in which, besides the two Patrons of the church, he had ...
Page 29
For this act the Queen of Heaven herself descended into his cathedral in visible
shape and presented him with a mantle of celestial texture. The Archbishop is
represented here on his knees before a throne, which occupies the centre of the
...
For this act the Queen of Heaven herself descended into his cathedral in visible
shape and presented him with a mantle of celestial texture. The Archbishop is
represented here on his knees before a throne, which occupies the centre of the
...
Page 86
In the beginning of 1622 he came to Paris to make arrangements with the Queen
herself : and it was on this occasion that he most probably painted the fine portrait
of her now in the Museum at Madrid (Fig. 68). Three years later the paintings, ...
In the beginning of 1622 he came to Paris to make arrangements with the Queen
herself : and it was on this occasion that he most probably painted the fine portrait
of her now in the Museum at Madrid (Fig. 68). Three years later the paintings, ...
Page 89
... is represented as Minerva on horseback (Fig. yd). The face is here idealized to
harmonize with the helmet of the goddess: — although otherwise the Queen
always appears in her own likeness;- — full of youthful charm in the scenes from
her ...
... is represented as Minerva on horseback (Fig. yd). The face is here idealized to
harmonize with the helmet of the goddess: — although otherwise the Queen
always appears in her own likeness;- — full of youthful charm in the scenes from
her ...
Page 90
... are conceived rather superficially; but there are traits which unquestionably
testify power of observation and deep sentiment: as, for instance, where the King
examines for the first time the portrait of his Bride ; or when the Queen is
overcome ...
... are conceived rather superficially; but there are traits which unquestionably
testify power of observation and deep sentiment: as, for instance, where the King
examines for the first time the portrait of his Bride ; or when the Queen is
overcome ...
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Contents
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Other editions - View all
Common terms and phrases
adorned Albertina at Vienna altar altar-piece Ambassador angels antique marbles Antwerp Antwerp Museum Archduchess Archduke Albrecht artist Balthasar Moretus beautiful Brussels Buckingham Carleton charm church Clement Collection Cologne colour commission composition Cross daughter death decoration designed Dornach drawings Dresden Gallery Duke of Mantua England engraving executed expression figures Flemish florins France Franz Hanfstangl Gallery at Cassel Gerbier goddess hand head Helena Fourment Hermitage at St Holy Imperial Museum Infant Christ Isabella Brant Jesuit Johann Knackfuss landscape letter life-size Louis XIII Louvre magnificent Maria de Medici Mary Magdalene master Medici Gallery monks mother Munich Pinakothek Museum at Antwerp Museum at Vienna Netherlands nymph original by Braun original by Franz painted painter Paris and New-York peace period Peter Paul Rubens Petersburg Philip photograph picture Pinakothek at Munich Plantin-Moretus Museum Poeteait portrait possesses Prince pupils Queen representing Saint Scaglia scenes seems sketch Spanish Vienna Fig Virgin whilst wife
Bibliographic information
| Title | Rubens Volume 9 of Monographs on artists ... IX |
| Author | Hermann Knackfuss |
| Translated by | Luise Marie Schwaab Richter |
| Publisher | Velhagen & Klasing, 1904 |
| Original from | the University of Michigan |
| Digitized | 21 Nov 2008 |
| Length | 168 pages |
| Export Citation | BiBTeX EndNote RefMan |