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In 1547, he went to Rome to study under Perin del Vaga. He was employed in the decoration of the Sala del Consiglio of Castel Sant'Angelo. When Perino died in 1547, Tibaldi became the leader in the large-scale fresco painting of the chambers and doorways (1547–1549). The frescoes are described as Michelangelesque in influence. |
Other works were for Cardinal Giovanni Poggi in Bologna, and he carried out numerous commissions for him. Tibaldi painted frescoes of the Story of Ulysses in the Palazzo Poggi, scenes from the life of the Baptist in the Poggi chapel, and scenes from the Life of Moses in the Palazzo Sacchetti in Rome. He constructed a chapel for his patron, in the church of S. Giacomo Maggiore, and painted for it a St. John preaching in the Wilderness, and the Division of the Elect from the Damned. The Cardinal Poggi next employed him in the erection of a chapel in the Basilica della Santa Casa, Loreto, where he painted the Nativity, the Presentation in the Temple, the Transfiguration and Decollation of St. John. |
He lived in Ancona between 1558 and 1561. Here he painted frescoes for Loggia dei Mercanti and Palazzo Ferretti. In 1561, he met Cardinal Carlo Borromeo, who employed him in Milan mostly as architect in the nearly endless task of constructing the cathedral, working on various projects in the cathedral, the courtyard of the archiepiscopal palace (1564–70), San Fedele (1569–1579) and San Sebastiano (1577). In Milan he worked also as a civil architect, projecting the Spinola, Erba Odescalchi and Prospero Visconti palaces. In 1575 he was commissioned by Cardinal Tolomeo Gallio the construction of Villa d'Este on the shores of Lake Como. In Pavia, again for Cardinal Charles Borromeo, Tibaldi designed the monumental building of the Almo Collegio Borromeo: a university boarding school set on an airy courtyard with a perfect quadrature, characterized by the elegant Serlian architectural design of the two orders of loggias. Also in Pavia, commissioned by Pope Pius V, Tibaldi was entrusted with the construction of the Collegio Ghislieri in 1567. Following the severe and ascetic character of the Counter-Reformation Pope, who had wanted a functional but not sumptuous construction for his college, Tibaldi interpreted this approach of the client by creating a three-storey building, with a square plan, imposing but not empty scenographic, with internal spaces functional to the community life that takes place there. |
In 1586 he went to Spain, where he followed and replaced Federico Zuccari as main court painter. He painted in the lower cloisters of El Escorial at the request of King Philip II. His greatest work were frescoes in the library.[1][2][3] After nine years, he returned to Italy and was appointed architect of the Duomo of Milan until his death in Milan in 1592. |
Pellegrino's brother, Domenico Tibaldi was a painter and architect active in Bologna. Among his pupils were Orazio Samacchini, Lorenzo Sabbatini, and Girolamo Miruoli. |
Partial anthology of works |
References |
The Age of Correggio and the Carracci: Emilian Painting of the 16th and 17th Centuries (exh. cat., Washington, N.G.A.; New York, Met.; Bologna, Pinacoteca; 1986) |
Painting in Italy 1500–1600, S. J. Freedberg, (Penguin History of Art, 2nd Edition, 1983). 567–572. |
Pellegrino Tibaldi – Catholic Encyclopedia article |
Bryan, Michael (1889). Walter Armstrong; Robert Edmund Graves (eds.). Dictionary of Painters and Engravers, Biographical and Critical. Vol. II: L-Z. London: George Bell and Sons. p. 571. |
External links |
Scholarly articles in English about Pellegrino Tibaldi. Workshop of both in web and PDF @ the Spanish Old Masters Gallery |
Carl August Peter Cornelius (24 December 1824 – 26 October 1874) was a German composer, writer about music, poet and translator. |
Life |
He was born in Mainz to Carl Joseph Gerhard (1793–1843) and Friederike (1789–1867) Cornelius, actors in Mainz and Wiesbaden. From an early age he played the violin and composed, eventually studying with Tekla Griebel-Wandall and composition with Heinrich Esser in 1841. He lived with his painter uncle Peter von Cornelius in Berlin from 1844 to 1852, and during this time he met prominent figures such as Alexander von Humboldt, the Brothers Grimm, Friedrich Rückert and Felix Mendelssohn. |
His early compositions included chamber and church music and secular songs, among which stands the Stabat Mater for soloists, choir, and orchestra, composed in 1849. Cornelius's first mature works (including the opera Der Barbier von Bagdad) were composed during his brief stay in Weimar (1852–1858). His next place of residence was Vienna, where he lived for five years. It was in Vienna that Cornelius began a friendship with Richard Wagner. At the latter's behest, Cornelius moved to Munich in 1864, where he married and fathered four children. |
During his last few years in Berlin, Cornelius wrote music criticism for several major Berlin journals and entered into friendships with Joseph von Eichendorff, Paul Heyse and Hans von Bülow. Despite his long-standing association with Wagner and Franz Liszt (the latter on occasion sought Cornelius's advice when it came to matters of orchestration), Cornelius's relations with the so-called "New German School" of composition were sometimes rocky. For instance, he did not attend the premiere of Tristan und Isolde, using the premiere of his own opera Der Cid as an excuse. |
Cornelius's third and final operatic project, Gunlöd, based on the Norse eddas, was left incomplete at his death (from diabetes) in Mainz. He was buried in the city's Hauptfriedhof, and his grave can still be seen there. |
Legacy |
The Mainz Conservatory was renamed the Peter Cornelius Conservatory in 1936. The state of Rhineland-Palatinate honors musical achievements with the Peter Cornelius Award since 1951. |
A bust created by Hugo Lederer in 1930 is displayed in Park Drususwall, Mainz. |
Several streets and squares are named after him in Mainz (Peter-Cornelius-Platz) and across other German cities such as Berlin, Frankfurt am Main, Augsburg and Weimar, as well as in Vienna, Salzburg, and Waalwijk, Netherlands. |
The Peter Cornelius Archive is an extensive collection maintained by the Mainz City Library, consisting of the composer’s personal items, documents, and musical works. It includes around 50 original music manuscripts, 58 notebooks with diaries, sketches, and poems, personal memorabilia like death masks, and over 2,600 letters. The archive, enriched by contributions from Cornelius's family, is open to the public for research. |
In Britain to this day, Cornelius's best-known work is "The Three Kings" ("Die Könige"), a song for solo voice and piano originally from his 1856 song cycle, Weihnachtslieder. The song's melody line is accompanied by the chorale tune of "Wie schön leuchtet der Morgenstern" ("How brightly shines the morning star"), written by Philipp Nicolai in 1597. An English translation made in 1928 by H.N. Bate ("Three Kings from Persian lands afar...") was arranged by Ivor Atkins in 1957 for solo voice and choir, and this version was included in the first volume of the popular David Willcocks and Reginald Jacques compilation Carols for Choirs in 1961. |
Selected works |
Stabat mater for soloists, chorus and orchestra (1849) |
Brautlieder (1856) |
Weihnachtslieder, Op. 8 (1856) |
Der Barbier von Bagdad, opera buffa (1858) |
Der Cid, opera (1865) |
Requiem ("Seele, vergiß sie nicht"), after a poem of Hebbel (1872) |
String quartets |
Gunlöd, unfinished opera in three acts based on the story Hávamál in the version found in the Edda; completed by Karl Hoffbauer for its 1879 publication; premiered at the Hoftheater Weimar on May 6, 1891 with new orchestrations by Eduard Lassen. A different completed version by Max Hass (vocal score) and Waldemar von Baußnern (orchestrations) premiered on 15 December 1906 at the Cologne Opera. |
Mass in D minor, CWV 91 for two soloists, chorus and organ, strings |
References |
Cited sources |
Chisholm, Hugh, ed. (1911). "Cornelius, Carl August Peter" . Encyclopædia Britannica. Vol. 7 (11th ed.). Cambridge University Press. pp. 167–168. |
External links |
Works by or about Peter Cornelius at the Internet Archive |
Works by Peter Cornelius at LibriVox (public domain audiobooks) |
Free scores by Peter Cornelius at the International Music Score Library Project (IMSLP) |
Free scores by Peter Cornelius in the Choral Public Domain Library (ChoralWiki) |
Free scores at the Mutopia Project |
Peter Cornelius Mahler Foundation |
Cornelius, Peter (in German) Oesterreichisches Musiklexikon |
Sir Peter Paul Rubens ( ROO-bənz, Dutch: [ˈpeːtər pʌul ˈrybəns]; 28 June 1577 – 30 May 1640) was a Flemish artist and diplomat. He is considered the most influential artist of the Flemish Baroque tradition. Rubens' highly charged compositions reference erudite aspects of classical and Christian history. His unique and immensely popular Baroque style emphasised movement, colour, and sensuality, which followed the immediate, dramatic artistic style promoted in the Counter-Reformation. Rubens was a painter producing altarpieces, portraits, landscapes, and history paintings of mythological and allegorical subjects. He was also a prolific designer of cartoons for the Flemish tapestry workshops and of frontispieces for the publishers in Antwerp. |
He was born and raised in the Holy Roman Empire (modern-day Germany), to parents who were refugees from Antwerp in the Duchy of Brabant in the Southern Netherlands (modern-day Belgium) and moved to Antwerp at about 12. In addition to running a large workshop in Antwerp that produced paintings popular with nobility and art collectors throughout Europe, Rubens was a classically educated humanist scholar and diplomat who was knighted by both Philip IV of Spain and Charles I of England. Rubens was a prolific artist. The catalogue of his works by Michael Jaffé lists 1,403 pieces, excluding numerous copies made in his workshop. |
His commissioned works were mostly history paintings, which included religious and mythological subjects, and hunt scenes. He painted portraits, especially of friends, and self-portraits, and in later life painted several landscapes. Rubens designed tapestries and prints, as well as his own house. He also oversaw the ephemeral decorations of the royal entry into Antwerp by the Cardinal-Infante Ferdinand of Austria in 1635. He wrote a book with illustrations of the palaces in Genoa, which was published in 1622 as Palazzi di Genova. The book was influential in spreading the Genoese palace style in Northern Europe. Rubens was an avid art collector and had one of the largest collections of art and books in Antwerp. He was also an art dealer and is known to have sold important art objects to George Villiers, 1st Duke of Buckingham. |
He was one of the last major artists to make consistent use of wooden panels as a support medium, even for very large works, but used canvas as well, especially when the work needed to be sent a long distance. For altarpieces, he sometimes painted on slate to reduce reflection problems. |
Life |
Early life |
Rubens was born in Siegen, Nassau to Jan Rubens and Maria Pypelincks. His father's family were long-time residents of Antwerp tracing their lineage there back to 1350. Records show that a certain Arnold Rubens bought 'a house with court' in the Gasthuisstraat in Antwerp in 1396. The Rubens family belonged to the well-to-do bourgeois class and its members were known to operate grocery shops and pharmacies. Jan Rubens decided to study law and lived from 1556 to 1562 in the main cities of Italy to further his studies. He was awarded the degree of doctor of ecclesiastical and civil law by the Sapienza University in Rome. Upon his return to Antwerp he became a lawyer and held the office of alderman in Antwerp from 1562 to 1568. Jan Rubens married Maria Pypelinckx, who came from a prominent family originally from Kuringen, near Hasselt. A large portion of the nobility and bourgeoisie in the Southern Netherlands at the time sided with the Reformation and Jan Rubens also converted to Calvinism. In 1566 the Low Countries were the victim of the iconoclasic fury, referred to in Dutch as the Beeldenstorm (pronounced [ˈbeːldə(n)ˌstɔr(ə)m]) during which Catholic art and many forms of church fittings and decoration were destroyed in unofficial or mob actions by Calvinist Protestant crowds as part of the Protestant Reformation. The ruler of the Low Countries - the Catholic Spanish king Philip II - reacted to the unrest by ordering the severe repression of the followers of the Reformation. In 1568, the Rubens family, with two boys and two girls (Jan Baptist (1562–1600), Blandina (1564–1606), Clara (1565–1580) and Hendrik (1567–1583)), fled to Cologne. As Calvinists, they feared persecution in their homeland during the harsh rule of the Duke of Alba, who as the Governor of the Habsburg Netherlands was responsible for implementing the harsh repression. |
Jan Rubens became in 1570 the legal adviser of Anna of Saxony, the second wife of William I of Orange who at the time lived in Cologne. She later moved to Siegen about 90 kilometres from Cologne. Jan Rubens would visit her there while his family remained in Cologne. He had an affair with Anna of Saxony, which resulted in a pregnancy in 1571. Rubens was imprisoned in Dillenburg Castle and under threat of execution for his transgression. The illegitimate daughter, Christina of Dietz, was born on 22 August 1571. |
Thanks to the repeated pleas of his wife and by paying a bail bond of 6,000 thalers, Jan Rubens was permitted to leave prison after two years. The conditions of his release were a ban on practising as a lawyer and the obligation to take up residence in Siegen where his movements would be supervised. This put the rest of the family, who had joined Jan in Siegen, in financial difficulty. During this period two sons were born: Philip in 1574, followed in 1577 by Peter Paul who, although likely born in Siegen, was reportedly baptised in Cologne. Anna of Saxony died in 1577. The travel ban imposed on Jan Rubens was lifted in 1578 on condition that he not settle in the Prince of Orange's possessions nor in the hereditary dominions of the Low Countries and maintain the bail bond of 6,000 thalers as security. He was allowed to leave his place of exile in Siegen and to move the Rubens family to Cologne. While in Siegen, the family had of necessity belonged to the Lutheran Church in Cologne; the family now reconverted to Catholicism. The eldest son, Jan Baptist, who may also have been an artist, left for Italy in 1586. Jan Rubens died in 1587 and was buried in Cologne's St Peter's Church, a Catholic church. The widow Maria Pypelinckx returned with the rest of the family (i.e. Blandina, Philip and Peter Paul) to Antwerp in 1590, where they moved into a house on the Kloosterstraat. |
Apprenticeship |
Until his death in 1587, father Jan had been intensively involved in his sons' education. Peter Paul and his older brother Philip received a humanist education in Cologne which they continued after their move to Antwerp. They studied at the Latin school of Rombout Verdonck in Antwerp, where they studied Latin and classical literature. Philip later became a prominent antiquarian, librarian and philologist but died young. In 1590, the brothers had to interrupt their schooling and go to work, in order to contribute financially to their sister Blandina's dowry. |
While his brother Philip would continue with his humanistic and scholarly education while working as a private teacher, Peter Paul first took up a position as a page to the countess Marguerite de Ligne-Arenberg, whose father-in-law had been the governor general of the Spanish Netherlands. The countess was the widow of Count Philippe de Lalaing and probably lived in Oudenaarde. Even though intellectually and temperamentally suited for a career as a courtier, Rubens had from a young age been attracted by the woodblock prints of Hans Holbein the Younger and Tobias Stimmer, which he had diligently copied, along with Marcantonio Raimondi's engravings after Raphael. Acting on his ambition to pursue a career as an artist, he began an apprenticeship with the landscape painter Tobias Verhaecht in 1592. Verhaecht was married to Suzanna van Mockenborch, who was a granddaughter of Peter Paul Rubens' stepfather Jan de Landmetere and also a cousin of his mother. This family connection possibly explains the choice for Verhaecht as his first master. |
Rubens left Verhaecht's workshop after about one year as he wished to study history painting rather than landscape painting. He then continued his studies with one of the city's leading painters of the time, the artist Adam van Noort. Van Noort was a so-called Romanist, a term used to denote artists who had travelled from the Low Countries to Rome to study the work of leading Italian artists of the period such as Michelangelo, Da Vinci, Raphael and Titian and had created upon their return home artworks that reflected their engagement with these Italian innovations. Rubens' apprenticeship with van Noort lasted about four years during which he improved his handling of figures and faces. |
He subsequently studied with another Romanist painter, Otto van Veen. Van Veen offered Rubens the intellectual and artistic stimulation that suited his temperament. Van Veen had spent five years in Italy and was an accomplished portraitist and had a broad Humanist education. He knew Spanish royalty and had received portrait commissions as a court painter to Albert VII, Archduke of Austria and Infanta Isabella Clara Eugenia of Spain, the sovereigns of the Habsburg Netherlands. Van Veen instilled in Rubens the ideal of the 'pictor doctus' (learned painter), who understands that painting requires not only practice, but also on knowledge of art theory Classical art and literature and the masters of the Italian Renaissance. He also introduced Rubens to the 'code of conduct' which court painters needed to respect to become successful. Rubens completed his apprenticeship with van Veen in 1598, the year he entered the Guild of St. Luke as an independent master. As an independent master, he was allowed to take commissions and train apprentices. His first pupil was Deodat del Monte who would later accompany him on his trip to Italy. He seems to have remained an assistant in van Veen's after becoming and independent master. His works from this period, such as the |
Adam and Eve (Rubenshuis, Antwerp, c. 1599) and the Battle of the Amazons (Bildergalerie, Potsdam-Sanssouci) show the influence of his master van Veen. This style was characterised by a pronounced Italianate mannerism constrained by the Antwerp workshop tradition and the Italian art theory of the Renaissance. |
Italy (1600–1608) |
In 1600 Rubens travelled to Italy with his first pupil Deodat del Monte. They stopped first in Venice, where he saw paintings by Titian, Veronese, and Tintoretto. The colouring and compositions of Veronese and Tintoretto had an immediate effect on Rubens' painting, and his later, mature style was profoundly influenced by Titian. His visit to Venice coincided with that of Duke Vincenzo I Gonzaga of Mantua. It is possible that he was hired by the Duke during his stay in Venice or that Otto van Veen, who was court painter to Archdukes Albert and Isabella, joint governors of Flanders, had introduced Rubens to the Duke during the latter's visit to the Brussels court. The small duchy of Mantua was renowned as an art centre and the Duke as an avid art collector with a rich collection of Italian masters. Rubens mainly painted portraits of the Duke's family and also copied the famous Renaissance paintings in the Duke's collection. With financial support from the Duke, Rubens travelled to Rome by way of Florence in 1601. There, he studied classical Greek and Roman art and copied works of the Italian masters. The Hellenistic sculpture Laocoön and His Sons was especially influential on him, as was the art of Michelangelo, Raphael and Leonardo da Vinci. |
Rubens came in Rome also under the spell of the recent, highly naturalistic paintings by Caravaggio. He later made a copy of Caravaggio's Entombment of Christ and recommended his patron, the Duke of Mantua, to buy The Death of the Virgin (Louvre). He remained a strong supporter of Caravaggio's art as shown by his important role in the acquisition of The Madonna of the Rosary (Kunsthistorisches Museum, Vienna) for the St. Paul's Church in Antwerp after he had returned home. During this first stay in Rome, Rubens completed his first altarpiece commission, St. Helena with the True Cross for the Roman church of Santa Croce in Gerusalemme. |
Rubens travelled to Spain on a diplomatic mission in 1603, delivering gifts from the Gonzagas to the court of Philip III. While there, he studied the extensive collections of Raphael and Titian that had been collected by Philip II. He also painted an equestrian portrait of the Duke of Lerma during his stay (Prado, Madrid) that demonstrates the influence of works like Titian's Charles V at Mühlberg (1548; Prado, Madrid). This journey marked the first of many during his career that combined art and diplomacy. |
He returned to Italy in 1604, where he remained for the next four years, first in Mantua and then in Genoa. In Genoa, Rubens painted numerous portraits, such as the Marchesa Brigida Spinola-Doria (National Gallery of Art, Washington, D.C.), and the portrait of Maria di Antonio Serra Pallavicini, in a style that influenced later paintings by Anthony van Dyck, Joshua Reynolds and Thomas Gainsborough. He made drawings of the many new palaces that were going up in Genoa. These were later engraved and published in 1622 as Palazzi di Genova. |
From 1606 to 1608, he was mostly in Rome when he received, with the assistance of Cardinal Jacopo Serra (the brother of Maria Pallavicini), his most important commission to date for the High Altar of the city's most fashionable new church, Santa Maria in Vallicella also known as the Chiesa Nuova. The subject was St. Gregory the Great and important local saints adoring an icon of the Virgin and Child. The first version, a single canvas (now at the Musée des Beaux-Arts, Grenoble), was immediately replaced by a second version on three slate panels that permits the actual miraculous holy image of the "Santa Maria in Vallicella" to be revealed on important feast days by a removable copper cover, also painted by the artist. His brother Philip was also at the time of his second residence in Rome as a scholar. The brothers lived together on Via della Croce near Piazza di Spagna. They had thus the opportunity to share their common interest in Classical art. |
Rubens's experiences in Italy continued to influence his work even after his return to Flanders. His stay in Italy had also allowed him to build a network of friendships with important figures of his time such as the scientist Galileo Galilei whom he included as the central figure in his friendship portrait he painted in Mantua known as the Self-Portrait in a Circle of Friends from Mantua. Rubens continued to correspond with many of his friends and contacts in Italian, signed his name as "Pietro Paolo Rubens", and spoke longingly of returning to the peninsula—a wish that never materialised. Rubens was a polyglot who corresponded not only in Italian and Dutch, but also in French, Spanish and Latin. His mother tongue and most commonly used idiom remained, however, the dialect of Brabant. This is demonstrated in that he wrote his most spontaneous letters in that dialect and also used it for the notes on his drawings and designs. |
Antwerp (1609–1621) |
Upon hearing of his mother's illness in 1608, Rubens planned his departure from Italy for Antwerp, but she died before he arrived home. His return coincided with a period of renewed prosperity in the city with the signing of the Treaty of Antwerp in April 1609, which initiated the Twelve Years' Truce. In September 1609 Rubens was appointed as court painter by Albert VII, Archduke of Austria, and Infanta Isabella Clara Eugenia of Spain, sovereigns of the Habsburg Netherlands. |
He received special permission to base his studio in Antwerp instead of at their court in Brussels, and to also work for other clients. He remained close to the Archduchess Isabella until her death in 1633, and was called upon as a painter and also as an ambassador and diplomat. Rubens further cemented his ties to the city when, on 3 October 1609, he married Isabella Brant, the daughter of a leading Antwerp citizen and humanist, Jan Brant. |
In 1610, Rubens moved into a new house and studio that he designed. Now the Rubenshuis Museum, the Italian-influenced villa in the centre of Antwerp accommodated his workshop, where he and his apprentices made most of the paintings, and his personal art collection and library, both among the most extensive in Antwerp. During this time he built up a studio with numerous students and assistants. His most famous pupil was the young Anthony van Dyck, who soon became the leading Flemish portraitist and collaborated frequently with Rubens. He also often collaborated with the many specialists active in the city, including the animal painter Frans Snyders, who contributed the eagle to Prometheus Bound (c. 1611–12, completed by 1618), and his good friend the flower-painter Jan Brueghel the Elder. |
Rubens built another house to the north of Antwerp in the polder village of Doel, "Hooghuis" (1613/1643), perhaps as an investment. The "High House" was built next to the village church. |
Altarpieces such as The Raising of the Cross (1610) and The Descent from the Cross (1611–1614) for the Cathedral of Our Lady were particularly important in establishing Rubens as Flanders' leading painter shortly after his return. The Raising of the Cross, for example, demonstrates the artist's synthesis of Tintoretto's Crucifixion for the Scuola Grande di San Rocco in Venice, Michelangelo's dynamic figures, and Rubens's own personal style. This painting has been held as a prime example of Baroque religious art. |
Rubens used the production of prints and book title-pages, especially for his friend Balthasar Moretus, the owner of the large Plantin-Moretus publishing house, to extend his fame throughout Europe during this part of his career. In 1618, Rubens embarked upon a printmaking enterprise by soliciting an unusual triple privilege (an early form of copyright) to protect his designs in France, the Southern Netherlands, and United Provinces. He enlisted Lucas Vorsterman to engrave a number of his notable religious and mythological paintings, to which Rubens appended personal and professional dedications to noteworthy individuals in the Southern Netherlands, United Provinces, England, France, and Spain. With the exception of a few etchings, Rubens left the printmaking to specialists, who included Lucas Vorsterman, Paulus Pontius and Willem Panneels. He recruited a number of engravers trained by Christoffel Jegher, whom he carefully schooled in the more vigorous style he wanted. Rubens also designed the last significant woodcuts before the 19th-century revival in the technique. |
Marie de' Medici Cycle and diplomatic missions (1621–1630) |
In 1621, the Queen Mother of France, Marie de' Medici, commissioned Rubens to paint two large allegorical cycles celebrating her life and the life of her late husband, Henry IV, for the Luxembourg Palace in Paris. The Marie de' Medici cycle (now in the Louvre) was installed in 1625, and although he began work on the second series it was never completed. Marie was exiled from France in 1630 by her son, Louis XIII, and died in 1642 in the same house in Cologne where Rubens had lived as a child. |
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