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On a number of occasions, Peter Paul Rubens partially overpainted finished pictures. He did this to paintings by his own hand, such as Nymphs and Satyrs (P1666), which he retouched and enlarged twenty years after he first painted it. He also made changes to drawings and paintings by other artists that he owned. This painting is an example of such reworking, albeit in a radical mode that changed the subject from a scene of asceticism to one of eroticism. The picture was originally made by Paul Bril, who was trained in Antwerp and active in Rome from about 1575 until his death in 1626. Bril was one of the most successful landscape painters in Italy, where he worked for popes and other prominent patrons. This painting bears the date 1610 (on a rock in the lower-left corner), a time when Bril was at the height of his popularity. An X-ray of the painting shows that where we now see a nude woman and an eagle, there was originally a kneeling Saint Jerome holding a stone in his right hand. A hermit, Saint Jerome was frequently presented in landscape paintings, and part of his red cloth robe is still visible in front of the womans left foot. After purchasing this painting, either in Italy or Antwerp, Rubens decided to alter it. This must have happened after 1625, however, because the Antwerp artist Marten Ryckaert (1587-1631) made a closely related (though not identical) copy of Brils original painting dated to that year. In this picture, Rubens covered up the saint, and in his place painted a nude woman and the eagle that we now see. The style of the figure and the eagle are fully characteristic of Rubens, and his particular handling of the brush can also be discerned in the selective changes that he made to the landscape background: in the rock and branches to the left of the eagle; in the area behind it, which was originally part of the rock; and in the spray and mist rising from the waterfall just to the right of Psyche, among other areas. With these changes, Rubens transformed Brils painting of the penitent saint in subject and scope, adding to it the vital pulse and sense of life that are so typical of his landscapes. The subject of this painting was identified as the story of Psyche when the work was listed in Rubenss collection after his death. Indeed, the eagle (Jupiter) and the woman (Psyche) are characters from the novel Metamorphoses, also known as The Golden Ass, by the Roman writer Apuleius (c. 124-probably after 170 CE). The only novel from antiquity to survive in its entirety, The Golden Ass was well known during Rubenss time, serving as an important source for artists. While the tale of Cupid and Psyche, which accounts for a long section of the book, was frequently depicted by artists, the representation of Psyche and Jupiter was rare. One exception exists in the work of the Italian artist Giulio Romano (1499-1546), whose fresco cycle in the Sala di Psiche in the Palazzo del Te in Mantua (c. 1532-35) was inspired by the same section of Apuleiuss text. Rubens knew this precedent well, because he had been court painter in Mantua during his long stay in Italy from 1600 to 1608. The story of Psyche and Jupiter that Rubens illustrates is taken from Book VI (13-15) of Apuleiuss novel. The reading of this text may well have prompted Rubens to make the changes to the landscape by Bril that he owned. At one point in the story, Venus asks Psyche, "Do you see that steep mountain peak, rising above those towering cliffs? Dark waters flow from a black fountain there, down to the nearby valleys confined depths, and they feed the swamps of Styx, and the bitter stream of Cocytus." Psyche herself was frightened by the dramatic landscape: "A, high and immense rock wall, jagged, precarious, and inaccessible, emitted dread streams from jaws of stone, flowing downwards from their precipitous source." Characteristically, Rubens saw the sedate landscape by Bril in similarly dramatic terms, and decided to change it. Also true to form, Rubens followed Apuleiuss narrative closely -he was exceptional in his interest and comprehension of classical texts and one of the most erudite painters of his time. Rubens painted the eagle as it takes the cup from the hand of Psyche to fill it with water: "Now, pass me that phial"! Jupiter ordered Psyche, and "he snatched it from her hand." The river where the cup will be filled is in the background. Near the right corner is a dragon-like creature, one of the fierce serpents mentioned by Apuleius. Rubens was undoubtedly inspired to paint Psyche as a nude because of his reading of The Golden Ass, which has many erotic passages, or because of Giulio Romanos racy fresco paintings that he knew in Mantua. Rubenss painting arrived in Spain after it was purchased by Philip IV from the painters collection following Rubenss death in 1640. The king installed it in a room of the Alcazar Palace known as the retiradizo, together with other mythological and allegorical nudes. The nudity featured in the painting led to its inclusion in 1834 in the sala reservada -the room reserved for nude paintings- in the Real Museo de Pinturas in Madrid (now the Museo Nacional del Prado) (Text drawn from Vergara, A.: Splendor, Myth, and Vision. Nudes from the Prado, 2016, pp. 110-115).
On a number of occasions, Peter Paul Rubens partially overpainted finished pictures. He did this to paintings by his own hand, such as Nymphs and Satyrs (P1666), which he retouched and enlarged twenty years after he first painted it. He also made changes to drawings and paintings by other artists that he owned. This painting is an example of such reworking, albeit in a radical mode that changed the subject from a scene of asceticism to one of eroticism. The picture was originally made by Paul Bril, who was trained in Antwerp and active in Rome from about 1575 until his death in 1626. Bril was one of the most successful landscape painters in Italy, where he worked for popes and other prominent patrons. This painting bears the date 1610 (on a rock in the lower-left corner), a time when Bril was at the height of his popularity. An X-ray of the painting shows that where we now see a nude woman and an eagle, there was originally a kneeling Saint Jerome holding a stone in his right hand. A hermit, Saint Jerome was frequently presented in landscape paintings, and part of his red cloth robe is still visible in front of the womans left foot. After purchasing this painting, either in Italy or Antwerp, Rubens decided to alter it. This must have happened after 1625, however, because the Antwerp artist Marten Ryckaert (1587-1631) made a closely related (though not identical) copy of Brils original painting dated to that year. In this picture, Rubens covered up the saint, and in his place painted a nude woman and the eagle that we now see. The style of the figure and the eagle are fully characteristic of Rubens, and his particular handling of the brush can also be discerned in the selective changes that he made to the landscape background: in the rock and branches to the left of the eagle; in the area behind it, which was originally part of the rock; and in the spray and mist rising from the waterfall just to the right of Psyche, among other areas. With these changes, Rubens transformed Brils painting of the penitent saint in subject and scope, adding to it the vital pulse and sense of life that are so typical of his landscapes. The subject of this painting was identified as the story of Psyche when the work was listed in Rubenss collection after his death. Indeed, the eagle (Jupiter) and the woman (Psyche) are characters from the novel Metamorphoses, also known as The Golden Ass, by the Roman writer Apuleius (c. 124-probably after 170 CE). The only novel from antiquity to survive in its entirety, The Golden Ass was well known during Rubenss time, serving as an important source for artists. While the tale of Cupid and Psyche, which accounts for a long section of the book, was frequently depicted by artists, the representation of Psyche and Jupiter was rare. One exception exists in the work of the Italian artist Giulio Romano (1499-1546), whose fresco cycle in the Sala di Psiche in the Palazzo del Te in Mantua (c. 1532-35) was inspired by the same section of Apuleiuss text. Rubens knew this precedent well, because he had been court painter in Mantua during his long stay in Italy from 1600 to 1608. The story of Psyche and Jupiter that Rubens illustrates is taken from Book VI (13-15) of Apuleiuss novel. The reading of this text may well have prompted Rubens to make the changes to the landscape by Bril that he owned. At one point in the story, Venus asks Psyche, \"Do you see that steep mountain peak, rising above those towering cliffs? Dark waters flow from a black fountain there, down to the nearby valleys confined depths, and they feed the swamps of Styx, and the bitter stream of Cocytus.\" Psyche herself was frightened by the dramatic landscape: \"A, high and immense rock wall, jagged, precarious, and inaccessible, emitted dread streams from jaws of stone, flowing downwards from their precipitous source.\" Characteristically, Rubens saw the sedate landscape by Bril in similarly dramatic terms, and decided to change it. Also true to form, Rubens followed Apuleiuss narrative closely -he was exceptional in his interest and comprehension of classical texts and one of the most erudite painters of his time. Rubens painted the eagle as it takes the cup from the hand of Psyche to fill it with water: \"Now, pass me that phial!\" Jupiter ordered Psyche, and \"he snatched it from her hand.\" The river where the cup will be filled is in the background. Near the right corner is a dragon-like creature, one of the fierce serpents mentioned by Apuleius. Rubens was undoubtedly inspired to paint Psyche as a nude because of his reading of The Golden Ass, which has many erotic passages, or because of Giulio Romanos racy fresco paintings that he knew in Mantua. Rubenss painting arrived in Spain after it was purchased by Philip IV from the painters collection following Rubenss death in 1640. The king installed it in a room of the Alcazar Palace known as the retiradizo, together with other mythological and allegorical nudes. The nudity featured in the painting led to its inclusion in 1834 in the sala reservada -the room reserved for nude paintings- in the Real Museo de Pinturas in Madrid (now the Museo Nacional del Prado) (Text drawn from Vergara, A.: Splendor, Myth, and Vision. Nudes from the Prado, 2016, pp. 110-115). 2ff7e9595c
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