The sequence of paintings on the history of the Roman consul Decius Mus, which has been one of the greatest glories of the Liechtenstein collection since its acquisition in 1693, occupies a significant position in the work of Peter Paul Rubens (Flemish, 1577-1640). In it the artist uses for the first time the cycle form--that is, the narration of a story through a series of paintings. The development of a sequence of monumental works with abundant imagery and forceful visual impact had a great attraction for Rubens. Again ...
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The sequence of paintings on the history of the Roman consul Decius Mus, which has been one of the greatest glories of the Liechtenstein collection since its acquisition in 1693, occupies a significant position in the work of Peter Paul Rubens (Flemish, 1577-1640). In it the artist uses for the first time the cycle form--that is, the narration of a story through a series of paintings. The development of a sequence of monumental works with abundant imagery and forceful visual impact had a great attraction for Rubens. Again and again he turned his artistic energy to creating cycles, the foremost being the huge paintings celebrating the life of the French queen Maria de' Medici (Louvre, Paris). The Decius Mus cycle is a seminal force in Rubens's career in yet another sense. It is one of the earliest works in which he presented an episode from Roman history; here he made one of his first forays into classical antiquity, a domain that later inspired some of his most important paintings. As a member of a circle of humanists around Justus Lipsius, the great master of classical philology and Neostoical philosophy, Rubens was well acquainted with antique thought, literature, and art. He regarded as preeminent the authority of these ancient thinkers. These larger paintings were not planned as autonomous works of art; instead, the canvases were composed as cartoons, designs that were followed by the weavers as they transformed the master's compositions into tapestries. The Decius Mus cycle was a successful debut for Rubens into the field of tapestry weaving, a time-honored art that was developed in his native Flanders and later spread throughout Europe. Other Flemish artists, especially Jacob Jordaens, followed Rubens's example, thus reaffirming Flanders as the center of tapestry production in seventeenth-century Europe. Documentary evidence indicates that Rubens's preparatory work on the cycle took place between November 1616 and May 1618 and that the commissioners of the series were Genoese noblemen, who have not been identified. Rubens repeatedly visited Genoa during his Italian sojourn, particularly in 1605 and 1606, and he became well acquainted with patrons in that city, serving them with splendid portraits and, later, in 1622, publishing their residences in a volume of engraved views and plans collected during his stays there. It was in Genoa that Raphael's models for the tapestry cycle The Acts of the Apostles (now in the Victoria and Albert Museum, London) were preserved, and Rubens studied and recorded these cartoons in drawings. Given the personality of Rubens, it seems not unlikely that he would want to prove to Genoa and to the world that he was capable of works that would equal or perhaps even surpass Raphael's cartoons. The concept of the agon --the eagerly entered contest with predecessors or contemporaries--is characteristic of antique art; revived during the Renaissance, it was one of the vital forces that drove Rubens. We continually find him placing himself in competition with the masters of the Renaissance as well as of the classical past. Since he had studied Raphael's cartoons, he might have longed for the opportunity to create an important cartoon series of his own. And by working in oil, rather than the traditional technique of charcoal and colored chalks on paper, he could prove his cartoons to be technically superior to those of his predecessor. Furthermore, as a commission from Genoa, the Decius Mus cycle would be studied by contemporary Italian connoisseurs. Ten years earlier, when he completed the Vallicella altarpiece for the Chiesa Nuova, Rome, Rubens took great pride in challenging the achievements of his Italian colleagues. Italy, the nutrix of art, profoundly influenced Rubens; reliance on and incorporation of masterpieces from both antiquity and the Renaissance, so evident in the Decius Mus cycle, demonstrate the lessons he had learned from Italy. In hiis art, however, these ant
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Seller's Description:
Near fine. Illustrated in color with many full-bleed images. 63 pages. Slim 4to, glossy pictorial wrappers. New York: Metropolitan Museum, (1985). A near fine copy. The collections of the Prince of Liechtenstein.
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Seller's Description:
VG (sticker residue on inside front cover, all pages clear and intact) Color-illustrated wraps with black and red lettering. 63 pp. Color illustrations. Photographs by Walter Wachter. Catalogue of an exhibtion from October 26, 1985 to May 1, 1986.
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Seller's Description:
As New. pp. 64. Appears new and unread, in full-colour illustrated card cover. 10 pages of text by Reinhold Baumstark introduce 49 full-page, full-colour plates of Rubens' sequence of paintings on the history of the Roman consul Decius Mus, which has been in the collection of the Princes of Liechtenstein since 1640. Photos by Walter Wachter. Originally issued in connection with the exhibition 'Liechtenstein: the Princely Collections' held at the Metropolitan Museum of Art, New York, in 1985-86.
