Peter Paul Rubens – The Apotheosis of the Duke of Buckingham
before 1625
На эту операцию может потребоваться несколько секунд.
Информация появится в новом окне,
если открытие новых окон не запрещено в настройках вашего браузера.
Для работы с коллекциями – пожалуйста, войдите в аккаунт (open in new window).
Поделиться ссылкой в соцсетях:
You cannot comment Why?
The arrangement of figures suggests a hierarchical structure. Below the central man are several smaller groupings: on the left, nude female figures appear to offer some form of libation or ceremonial cleansing; in the lower right corner, a cluster of individuals, possibly allegorical representations, seem to be engaged in musical performance or revelry. These groups contribute to an atmosphere of festivity and abundance.
The upper portion of the painting is populated by numerous winged figures – likely angels or spirits – who appear to be showering the central figure with blessings or garlands. Their expressions are difficult to discern due to the distance, but their gestures convey a sense of reverence and adoration. The swirling clouds and diffused light create an otherworldly ambiance, further emphasizing the elevated status of the depicted individual.
Subtleties within the composition hint at layers of meaning beyond simple glorification. The inclusion of nude figures alongside those in opulent attire introduces a contrast between earthly beauty and divine grace. The musical scene below might symbolize the arts patronized by this man or perhaps allude to the transient nature of worldly pleasures compared to eternal reward.
The circular format itself is significant, evoking notions of completeness, perfection, and cosmic order. It reinforces the idea that the central figure’s elevation transcends earthly limitations and places him within a larger, divine framework. The paintings style suggests an attempt to blend classical ideals with baroque exuberance – a desire to portray power and status through both grandeur and idealized beauty.