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Peter Paul Rubens staat bekend om zijn weelderige vrouwenportretten, die een overweldigende zinnelijkheid uitstralen. Niet alleen zijn kunst, maar ook zijn hele leven werd in grote mate beïnvloed door vrouwen. Zijn jeugd wordt getekend door de buitenechtelijke relatie van zijn vader met Anna van Saksen, de echtgenote van Willem van Oranje. Het avontuurtje resulteert in de verbanning van Rubens' ouders en stort de familie in financiële ellende. Zijn moeder, Maria Pypelinckx, slaagt erin om in moeilijke omstandigheden de eindjes aan elkaar te knopen. In 1609 huwt Rubens zijn eerste liefde Isabella Brant, die op jonge leeftijd overlijdt aan de gevolgen van de pest. De zestienjarige Hélène Fourment, een Antwerpse koopmansdochter, wordt zijn tweede vrouw en muze. En dan zijn er nog zijn vorstelijke opdrachtgeefsters: de Franse koningin Maria de Medici, vrouw van Henri IV, voor wie hij indrukwekkende allegorieën schildert, en infante Isabella, landvoogdes der Nederlanden, van wie hij ook raadgever en vertrouweling is. Rosine De Dijn beschrijft het leven, het lijden en de passies van deze totaal verschillende vrouwen, die elk op hun manier de wereldberoemde schilder hebben gevormd. Zij schetst een kleurrijk portret van Rubens' wereld: de dramatiek van de godsdienstoorlogen, de grote veranderingen in de schilderkunst en de diplomatie.

women [female humans] --- biographies [documents] --- Rubens, Peter Paul --- Fourment, Helena --- Pypelinckx, Maria --- Brant, Isabella --- biografieën --- vrouwen --- Painters --- 75.07 --- Rubens, Pieter Paulus 1577-1640 (°Siegen, Westfalen, Duitsland) --- Schilderkunst ; schilders --- Rubens, Peter Paul, --- Rubens, Pieter Paul --- Rubens --- Rubens, P. P. --- Rubens, Pierre-Paul --- Rubens, Pieter-Pauwel --- Rubens, Pietro Paolo --- רובנס, פטר פאול, --- Relations with women. --- Schilderkunst ; 17de eeuw ; Pieter Paulus Rubens --- Schilderkunst ; Barok --- Rubens, --- Rubens, Pierre-Paul, --- Rubens, Pieter Paul, --- Rubens, Pieter-Pauwel, --- Rubens, Pietro Paolo, --- biographies [literary works]

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Accompanying an exhibition of spectacular drawings by great giants of Flemish Baroque art from the superlative collection of the Morgan Library & Museum in New York, Power and Grace demonstrates the crucial but very different roles played by drawings in oeuvres of Rubens, Van Dyck, and Jordaens, and highlights the distinctive features of their graphic styles and the impact they had on each other. In 1621, Peter Paul Rubens (1577–1640) wrote a letter to William Trumbull, the English diplomat and political agent to King James I, in which he described a large painting of a lion hunt that he had just completed, “As you rightly observe, such things have more grace and power in a large picture than in a small one … because the large size of a picture gives one much more courage to express one’s ideas clearly and realistically.” Rubens here casually disclosed what lay at the heart of his artistic intentions – his constant quest to achieve in his compositions the equilibrium between power and grace. The same can be said of Anthony van Dyck (1599–1641) and Jacob Jordaens (1593–1678), whose lives and careers were markedly intertwined with and influenced by the senior artist. Just how differently they went about achieving this effect can best be seen in their drawings, for it is there that we see the artists thinking, evolving, and creating. The Morgan is particularly well suited to tell this story, for its holdings of Rubens, Van Dyck, and Jordaens drawings are unparalleled in the United States. The nucleus stems from Pierpont Morgan’s important 1909 acquisition of the collection of European drawings from the English Pre-Raphaelite painter and collector Charles Fairfax Murray. During the decades following Pierpont Morgan’s death in 1913, the collection of Flemish drawings was enriched with several notable acquisitions. The exhibited selection includes designs for paintings, tapestries, and sculpture, copies after Italian and German masters, portrait drawings, landscapes, and studies of the male nude.

drawings [visual works] --- drawing techniques --- drawing [image-making] --- preliminary sketches [sketches] --- Dyck, van, Anthony --- Jordaens, Jacob --- Rubens, Peter Paul --- The Morgan Library & Museum [New York, N.Y.] --- Rubens, Peter Paul, --- Van Dyck, Anthony, --- Jordaens, Jacob, --- Iordans, I︠A︡kob --- Jordaens, Jakob --- Jordaens, Jacques --- Jordaens, I. --- van Dyck, Anthony --- Dyck, Anthony van, --- Van Dyck, Anthonie, --- Van Dyck, Antoon, --- Van-Deĭk, Antoni, --- Deĭk, Antoni van, --- Dyck, Antoine van, --- Van Dyck, Anton, --- Van Dyck, Antoine, --- Van Dyck, Antoine --- Van Dyck, Anton --- Van Dijck, Anthonie --- Van Dijck, Anton --- Van Dijck, Antonie --- Van Dijck, Antoon --- Vandyke, Anthony, --- Dyck, Anthonie van, --- Dyck, Antoon van, --- Dyck, Anton van, --- Van Dyck, Anthonis, --- Van Daĭk, Antonis, --- Daĭk, Antonis van, --- Ṿan Daiḳ, Anṭon, --- Vandeik, Antoine, --- Van Dyck, Antonio, --- Vandyck, Anthony, --- Rubens, Pieter Paul --- Rubens --- Rubens, P. P. --- Rubens, Pierre-Paul --- Rubens, Pieter-Pauwel --- Rubens, Pietro Paolo --- רובנס, פטר פאול, --- Criticism and interpretation. --- Exhibitions --- Dyck, Anthony van --- Van Dyck, Antoon --- Van-Deĭk, Antoni --- Deĭk, Antoni van --- Dyck, Antoine van --- Vandyke, Anthony --- Dyck, Anthonie van --- Dyck, Antoon van --- Dyck, Anton van --- Van Dyck, Anthonis --- Van Daĭk, Antonis --- Daĭk, Antonis van --- Ṿan Daiḳ, Anṭon --- Vandeik, Antoine --- Van Dyck, Antonio --- Vandyck, Anthony --- Rubens, --- Rubens, Pierre-Paul, --- Rubens, Pieter Paul, --- Rubens, Pieter-Pauwel, --- Rubens, Pietro Paolo,