Peter paul rubens brief biography of mozart
This drawing of a Madonna and Child by Peter Paul Rubens provides fascinating insights into the painter’s working methods.
After completing his apprenticeship, Peter Paul Rubens was accepted into the Antwerp painters’ guild in 1598. A year later, he travelled to Italy where the work of the great painters Raphael, Michelangelo, Titian and Veronese would make a deep impression on him. The work of the young northern painter very soon caught the eye of Duke Vincenzo Gonzaga who appointed him Court Painter in Mantua. At the Duke’s court, Rubens familiarised himself with the frescoes of Giulio Romano and the works of Andrea Mantegna, which significantly inspired him – impressions that would continue to influence his work after his return to Antwerp.
The drawing of a Madonna and Child, one of Rubens’ rare works executed in red chalk, also was inspired by the work of Giulio Romano and Raphael. There is consensus amongst current Rubens scholars that this is an autograph work by Rubens himself, based on the proximity of this work to his other known production. It is evident that the work is closely related to a study kept in the Museum Kunstpalast Düsseldorf, which is attributed to Giulio Romano. The prototype of the composition in turn probably goes back to an early design by Raphael for his Madonna and Child with Angels, now in the Musée Condé in Chantilly. While Raphael’s drawing is a multi-figure composition, Giulio Romano’s study includes only the figure of the Child and the arms of the Madonna. The Rubens drawing reproduces the figure of the Christ Child in a completely analogue manner to Giulio’s study. However, Rubens expanded the composition of his drawing at the upper edge to include the Virgin lovingly turning towards her child.
The reworking of other artist’s models and the adaption of existing compositions is typica The Morgan Library & Museum celebrated the 250th anniversary of the birth of Wolfgang Amadeus Mozart (1756–1791) with an exhibition that traces Mozart's brief life through manuscripts, letters, and first editions of his works. Mozart at 250: A Celebration began with the manuscripts of his earliest surviving compositions—four short keyboard works composed by Mozart at age five and written down by his father, Leopold—followed by his earliest dated letters, to his mother and sister, written when he was thirteen. Also on view were manuscripts of the two earliest Mozart symphonies in the repertories of major orchestras today—those in G Minor, K. 183, and A, K. 201—composed in Salzburg in the early 1770s. Mozart traveled extensively during the first twenty-five years of his life. On view was the manuscript of his Symphony in F, K. 112, composed in 1771 during his second trip to Italy, and the dramatic Piano Sonata in A Minor, K. 310, one of his most frequently performed, written in 1778 during his second visit to Paris. In 1781, Mozart moved from Salzburg to Vienna; except for brief trips back to Salzburg, Prague, Frankfurt, Berlin, and a few other cities, he would remain in Vienna for the last decade of his life. Among the first works he wrote after his arrival in Vienna was the Violin Sonata in F, K. 376/374d. Mozart's celebrated "Haffner" Symphony, K. 385, was performed at his first public concert in Vienna, on 23 March 1783. The autograph manuscript was shown here in the velvet and silver case in which it was housed when it was presented to King Ludwig II of Bavaria in 1865. Other manuscripts from the Vienna years included those of the somber Fugue for Two Pianos in C Minor, K. 426, Mozart's only keyboard fugue of any distinction; two of his best-known piano concertos—in C, K. 467, and D ("Coronation"), K. 537; Der Schauspieldirektor (The Impresario), the only manuscript of a Mozart opera in this country; the Piano Rondo in D, K. 485, known to piano The Mozarts were surrounded by art: in their home and the homes of their friends and acquaintances, at mansions and palaces they visited, at churches and other religious institutions, at inns and taverns and even on the street, including ballad sheets and other engravings hawked by itinerant merchants or established tradesmen. Some of their letters explicitly describe the art they saw: Leopold marveled at the Flemish and Dutch art the family saw in Brussels, Antwerp and elsewhere. And in 1778, Mozart’s mother, Anna Maria, took it upon herself to visit the gallery at the Palais Luxembourg in Paris, the first public art gallery in France. Andrea del Sarto, Charity, 1518, exhibited at Palais Luxembourg from 1750 and seen by Anna Maria Mozart in 1778 (now Paris, The Louvre) Most of what the Mozarts saw, however, is not mentioned in the letters although it can be reconstructed from early documents such as the estate inventories and the history of museums and other institutions Mozart visited or frequented, including the ceiling frescoes, tapestries and paintings that adorned the archbishop’s residence in Salzburg, the art that ornamented the palace of Versailles or the Brussels cathedral or the Hofburg in Vienna, among many others. Given Mozarts’ widespread exposure to art of all sorts, their experiences were both varied and nuanced, historical and modern, aesthetic or utilitarian, and intersected with the broader cultures they lived and worked in or visited. Leuven 1763: Victor Honoré Janssens, Last Supper Brussels 1763: Peter Paul Rubens, Christ’s Charge to Peter Antwerp 1765: Peter Paul Rubens, Descent from the Cross Portraits Leuven 1763: Victor Honoré Janssens, Last Supper The Mozarts stopped at Leuven (Louvain) for one day, 4 October 1763. Later that month, after their arrival in Brussels, Leopold wrote to Johann Lorenz Hagenauer (letter of 17 Oct Hans Makart was a 19th-century Austrian academic history painter, designer, and decorator. He is best known for his influence on Gustav Klimt and other Austrian artists, but in his own era he was considered an important artist himself and a celebrity figure in the high culture of Vienna and attended with almost cult-like adulation. Makart was the son of a chamberlain at the Mirabell Palace, born in the former residence of the prince-archbishops of Salzburg, the city in which Mozart had been born. Initially, he received his training in painting at the Vienna Academy between 1850 and 1851 from Johann Fischbach. While in the Academy, German art was under the rule of a classicism, which was entirely intellectual and academic—clear and precise drawing, sculpturesque modelling, and pictorial erudition were esteemed above all. Makart, who was a poor draughtsman, but who had a passionate and sensual love of color, was impatient to escape the routine of art school drawing. For his fortune, he was found by his instructors to be devoid of all talent and forced to leave the Vienna Academy. He went to Munich, and after two years of independent study attracted the attention of Karl Theodor von Piloty, under whose guidance, between 1861 and 1865 he developed his painting style. During these years, Makart also travelled to London, Paris and Rome to further his studies. The first picture he painted under Piloty, Lavoisier in Prison, though it was considered timid and conventional, attracted attention by its sense of color. In his next work, The Knight and the Water Nymphs, he first displayed the decorative qualities to which he afterwards sacrificed everything else in his work. His fame became established in the next year, with two works, Modern Amoretti and The Plague in Florence. His painting Romeo and Juliet was soon after bought by the Austrian emperor for the Vienna Museum, and Makart was invited to come to Vienna by the aristocracy. The Mozart &
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Leuven 1763: Victor Honoré Janssens, Last Supper Peter Paul Rubens (1881-1884)