"Peter Paul Rubens", by J. Gilbert, in the Exhibition of the Society of Painters in Water Colours, 1862. Engraving of a painting. 'The representation of the great masters in their studios has been a favourite subject with modern and especially foreign, artists. Mr. Gilbert may naturally take this means of showing his admiration and reverence for the great Flemish attitude of Rubens, stepping back to see the effect of his work, is not merely characteristic of all artists, but is especially appropriate when assumed as the habit of this painter; for no master depended more
"Peter Paul Rubens", by J. Gilbert, in the Exhibition of the Society of Painters in Water Colours, 1862. Engraving of a painting. 'The representation of the great masters in their studios has been a favourite subject with modern and especially foreign, artists. Mr. Gilbert may naturally take this means of showing his admiration and reverence for the great Flemish attitude of Rubens, stepping back to see the effect of his work, is not merely characteristic of all artists, but is especially appropriate when assumed as the habit of this painter; for no master depended more upon distance for the effect of his paintings, many of which, like the ceiling at Whitehall, were of colossal size, and only intended to be seen at a long artists employ a cane or stick, termed a "maulstick," to steady the arm, but we may mention that Mr. Gilbert is historically correct in representing Rubens without such an the accessories of this picture have a gorgeous and voluptuous character well suited to the subject. A florid and boldly-carved column, similar to that in the picture, is introduced in several of the painter's little skin bags contain colours, and the pigments were so prepared up till a recent date'. From "Illustrated London News", 1862.
Size: 3684px × 4763px
Photo credit: © The Print Collector / Alamy / Afripics
License: Licensed
Model Released: No
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