Painting time as a concept is very difficult. Once solution is to show the Fates, as depicted by Rubens, Goya, Burne-Jones, Jacek Malczewski and others.
It’s a good story that the first month of the year is named January after the two-faced god of transitions, Janus. It’s a shame that isn’t exactly true.
The fourth ‘basic plot’ is the story of voyage and return, for which we turn to Ovid’s account of this couple, and a dozen superb paintings. But does the model fit?
A banquet with a river god, a pitched battle at his friend’s wedding which turned into a full-scale war, a relationship involving incest, suicide and violent death, and the abduction of Helen – quite the career of a Greek hero.
Rubens as a landscape painter influenced by the Brueghels, and the changing horizons seen in Dutch Golden Age paintings.
From his battle with the sea monster to the deadly fight at his wedding to Andromeda, paintings by Titian, Veronese, Burne-Jones, Vallotton and others.
A series to examine visual development of figures within narrative paintings, according to their type of plot. The fall of Icarus used as an example.
Miniature landscape views embedded in more conventional paintings were not uncommon during the Renaissance, before landscape was established as a genre.
Marking 300 years since the woefully early death of the master of the Rococo. Early paintings show the development of the fête galante, and its zenith in ‘Embarkation for Cythera’.
Palaces of Albert VII, Rubens’ own Het Steen, an imposing Swiss castle, Wivenhoe Park in hiding, and an Australian pastoral station.