Rus Articles Journal

Rubens, “Love garden“. Love story?

Slightly more to the right on a grass sit couple more. Her look is turned on the viewer, he looks at her. From attributes of the gentleman It should be noted a sword is accessory of the nobleman (at the left gentleman the sword is not looked through). Their relations are more frank: her hand at it on a knee, it belongs to it completely. It is explained by it in love, his hand lies on heart.

Here still the beauty with the quiet, as if estimating look. In her clothes there is a detail which distinguishes it from the others, - a gold fringe at a cape. Perhaps, it is higher than others by situation in society. The baby with wings of a butterfly - a symbol of happy hours touches her shoulder. So the quiet look is only a mask. What passions are behind this tranquility?

The lady in the center rolled up eyes: can be, it is so affected by music? And maybe, she repents? It has on hands a doggie - a sin symbol. What could plunge the woman into such state? Perhaps, unpleasant consequences of pleasant pastime. (The baby over it - too a symbol of happy hours. And what he reads to it from the book which he holds in hand? Perhaps, “Everything passes. And it will pass“?)

The lutenist strums on the tool, and his eyes with entreaty are turned on the lady who does not notice it.

The woman in darkly - a blue magnificent dress slightly bent to the lady sitting before her who holds it by a hand. Even not by a hand, and for a sleeve. But why it grabbed a sleeve? Grabbed, as if trying to attract to itself, to detain on itself attention. Gesture is not really polite. It that, showdown? Jealousy scene?

The cupid lay down at it on a lap, as if got tired. He has a rest and even longs. It not just like that, is a cooling sign, maybe, of satiation. In any case, the love left.

And here the main couple though it is also not located in the center of a picture. Their communication obviously not Platonic: his right hand is based upon her waist. But why to it an ostrich`s feather which it bears how a torch? And why it has between legs a doggie - a sin symbol? (Small sin. There is an option of a picture of 1630 in which right there was also a big dog.)

The temple near which action is developed is devoted to Juno, the patroness of family bonds, her symbol - a peacock.

At temple steps under a portico - almost drama representation. Closer to the viewer love couple marrying: over them Gimeney with a marriage torch and Cupid with a wreath. Nearby three more women. Judging by dresses, all of them are commoners. Not really gallant gentleman laid a hand (and very diligently put!) to a breast of that which faces it, and at the same time tries to put on a hat to the neigbour at the left. Perhaps, it are witnesses of couple over which the cupid with a wreath curls?

What idea of a picture? Perhaps, it is the autobiography of the artist? More precisely, that its part which is connected with its love stories? Means, all men (at least, in the foreground) is a Rubens?

We will begin with women at temple steps. Perhaps, it is models? Also they got on a cloth because Rubens not only drew, but also loved them? And maybe, he also married someone from them?

Benvenuto Cellini, the Italian sculptor, wrote very frank autobiography. Here what he told of the not contemplate relations with models: “When the next day, this told Katerina came (Benvenuto Cellini`s model - B. R.) came to my door and with great rage knocked at the told door... When I opened a door, this cattle, laughing, threw the arms round me a neck, embraced me and kissed, and asked me whether I become angry about it. I told that I am not present. She told: “So let`s me have a snack properly“. I allowed it to have a snack properly and ate with it in a peace sign. Then began to mold it, and meanwhile we had carnal delights...“

Rubens was not an ascetic and probably too used those whom he drew as far as circumstances allowed. It is known that he asked one of the correspondents to provide presence of three models on operating time over pictures for Louvre:

Spring of 1623, to mister Sover Ferrari, the moneychanger, against a bema of church of St. Mederik in Paris.

Ya I ask you to tell mister Jean Sovajou following: I ask you to arrange so that to leave for me on a third, following this, week of two ladies of Kapayo from Verbua Street, and also the little niece Louise...“
we Will pass

on a picture a look from left to right: at first there is neither sword, nor spurs. It was, most likely, in Italy, before Rubens`s return to Antwerp and marriages in 1609. Then there is a sword - the nobleman`s accessory (the commoner could carry only a dagger). Rubens received a noble rank from the Spanish king:

Madrid, on June 5, 1624. to

Philip, God`s favor the King of Castile, Leon, Aragon, both Sitsily, having taken in a reasoning the aforesaid and considering the glory deserved and reached by the applicant thanks to perfection and rare ability in painting art and also its knowledge in the history and languages and other his fine talents and qualities doing it worthy to our royal favor proceeding from our strong knowledge, the Supreme power and special favor, the present diploma we grant forever and we report to the specified applicant Pierre Paul Rubens, his children and descendants man`s and female, given rise in a legal marriage, a noble title and a rank.
by

Thus, designates the date corresponding to the second couple, is 1624. It is natural to assume that this couple - Peter and Isabella. Comparison of a double portrait of 1610 and “Love“ does not give to Sadah a definite answer to a question, whether so it.

The gentleman on the right side of a cloth has a suit detail which two others do not have: spurs. It is accessory of the person, the awarded knightly rank. Besides, on it a red raincoat. The extract from the document on assignment of knightly ranks remained:

From the list of the persons built by Charles I (the English king) in knights on February 21, 1630:

Sir Peter Paul Rubens, the envoy Ertsgertsogini at Whitehall.

Three women in the center, perhaps, were at Peter in France when he painted pictures for Ekaterina Medici (1622-1625). Neither the word about them, nor the half-word was kept for us by the past.

In the right part of a picture - Syuzanna and Elena Fourment (Rubens married Elena in 1630, and with Syuzanna he was acquainted by Isabella Brant`s sister, the first wife of St. Petersburg who married one of Fourment`s family). Peter was not indifferent to Syuzanna, tells number of her portraits about it.

As for Elena - in a year of death of Isabella Brant 12 years were her. Their situation on a cloth is symbolical too: as if Syuzanna acquainted Peter with his future wife.

“A love garden“ - a love story of the artist, a declaration of love to those who were for it inspiration sources, his guardian angels, its muses.