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ARCH.2003.33, Rendition: 803131
This image is a scanned page from The New York Times, dated Sunday, March 25, 1956. The article, titled “INTIMATE RUBENS”, is authored by Stuart Preston and focuses on an exhibition of sketches and drawings by the renowned Flemish Baroque artist Peter Paul Rubens.
The article serves as a review of the exhibition “Rubens: Drawings and Sketches”, held at the Morgan Library in New York. Preston delves into the nature and significance of Rubens’s preparatory works—sketches and drawings made for larger, more formal paintings—and argues that these “intimate” works offer a unique window into his creative process, emotional intensity, and artistic genius.
Rubens’s Artistic Process:
“The St. Gregory of Nazianzus Subduing Heresy”:
Historical Context and Loss:
Comparisons with Other Artists:
Morgan Library’s Role:
Stuart Preston writes with authority and reverence for Rubens, blending art historical insight with critical commentary. He defends the value of preparatory works, arguing against those who dismiss them as “less important.” The tone is erudite but accessible, aimed at cultured readers familiar with art history.
The article positions the Morgan Library exhibition as a “close to lost work” opportunity to understand Rubens not just as a master of grand-scale painting, but as a tireless, emotionally engaged draftsman whose sketches reveal his “unimpaired strength” and creative vitality. It serves both as a review and an art historical argument for the enduring power of artistic process.
This page is a valuable historical document offering insight into mid-century art criticism and the curation of Old Master works in American institutions.
The image shows a section of a newspaper from "The New York Times" dated Sunday, March 25, 1956. The article is titled "INTIMATE RUBENS" and discusses the exhibition of sketches and drawings by the artist Peter Paul Rubens at the Morgan Library. The article is written by Stuart Preston and provides insights into Rubens' artistic process and the nature of his sketches and drawings.
The article begins by discussing the supremacy of Rubens as an artist, noting that his works are often referred to as emotional and intense. It then goes on to describe the current exhibition at the Morgan Library, which showcases a variety of sketches and drawings by Rubens from American collections. The article highlights the different mediums used by Rubens, including oil sketches that were directly connected to major commissions, and book illustrations that were studies after classical sculpture and tapestry cartoons.
The article also mentions the tragic loss of some of Rubens' works, such as the series of paintings for the Royal Spanish Hunting Lodge, the "Torre della Parada" near Madrid, which either vanished or were destroyed. It notes that much of his brushwork is absent from the Marie de Medicis cycle in the Louvre, which was largely the work of studio assistants.
The article then goes on to discuss the importance of the sketches and drawings for the exhibition, as they provide clues to lost work and take the viewer into the confidence and almost presence of the artist at creative moments. It mentions a specific sketch, "St. Gregory of Nazianzus Subduing Heresy," which illustrates the essentials of Rubens' transfiguration of the Baroque style.
The article also briefly touches on other exhibitions and artists, such as Antonio Frasconi's graphic art, Sidney Laufman's brush drawings at the Milch Galleries, and Paul Jenkins' non-objective paintings at the Martha Jackson Gallery. It concludes with a brief mention of the technical wizardry of Paul Jenkins, whose paintings are described as a place of danger and endless ambiguity.
The image also includes a photograph of the "St. Gregory of Nazianzus Subduing Heresy" sketch, which is lent by the Buffalo Fine Arts Academy for the show of Rubens' sketches and drawings at the Morgan Library.
The image shows a scanned page from "The New York Times," dated Sunday, March 25, 1956, featuring an article titled "Intimate Rubens." The article, written by Stuart Preston, discusses an exhibition at the Morgan Library showcasing sketches and drawings by Peter Paul Rubens. The text delves into Rubens' artistic supremacy, the nature of his sketches, and their connection to his major commissions, many of which have been lost or destroyed.
The article is accompanied by a black-and-white image of a Rubens sketch titled "St. Gregory of Nazianzus Subduing Heresy." The sketch is described as being lent by the Buffalo Fine Arts Academy for the exhibition. The sketch depicts a dynamic scene with swirling figures, bold composition, and a sense of inner life typical of Rubens' style.
The article also mentions other artists and exhibitions, including Antonio Frasconi's prints, Sidney Laufman's drawings, and Paul Jenkins' paintings, providing a broader context of the art scene at the time.
The image depicts a newspaper clipping from "The New York Times," dated Sunday, March 25, 1956. The headline reads "INTIMATE RUBENS," and the subheading mentions "Sketches for Big Projects, Together With Drawings, at Morgan Library." The article, written by Stuart Preston, discusses an exhibition featuring the sketches and drawings of Peter Paul Rubens, a renowned Flemish Baroque painter.
The clipping includes a photograph of one of Rubens' works, "St. Gregory of Nazianzus Subduing Heresy," located at the Buffalo Fine Arts Academy. The image shows a detailed sketch with Rubens' characteristic style, which is dynamic and expressive. The sketch captures a moment of intense action, with figures in motion and dramatic poses, highlighting Rubens' skill in conveying emotion and movement.
The text of the article praises Rubens' work, noting the intimacy and immediacy of his sketches. It describes how these sketches provide insight into Rubens' creative process and his ability to capture the essence of his subjects. The article also mentions the exhibition's location at the Morgan Library and the significance of viewing Rubens' preparatory works alongside his finished paintings.
The layout of the clipping is typical of mid-20th-century newspaper design, with a combination of text and image to engage the reader. The photograph is placed prominently, drawing attention to the featured artwork, while the text provides context and analysis. The overall tone of the article is appreciative and informative, aimed at art enthusiasts and the general public interested in Rubens' contributions to art history.
This image is a vintage newspaper clipping from The New York Times, dated March 25, 1956. The clipping features an article titled "Intimate Rubens" by Stuart Preston, which discusses a collection of sketches and drawings by the renowned Baroque artist Peter Paul Rubens, displayed at the Morgan Library. The article highlights the artist's creative process and the intimate nature of his works, emphasizing the personal touch and preliminary sketches that led to his famous paintings. The clipping also includes a small image of a drawing by Rubens, depicting "St. Gregory of Nazzano Subduing Heresy," which is described as being exhibited at the Buffalo Fine Arts Academy. The article provides insights into Rubens' artistic approach and the significance of his preliminary works in understanding his larger masterpieces.
The image shows a page from The New York Times dated Sunday, March 25, 1956, featuring an article titled "INTIMATE RUBENS". The article is a review or commentary on sketches and drawings by the renowned artist Peter Paul Rubens, housed at the Morgan Library.
"St. Gregory of Nazianzus Sobrietude Hero," lent by the Buffalo Fine Arts Academy for the show of Rubens' sketches and drawings at the Morgan Library."
This identifies the specific artwork shown and its provenance.
The image captures a historical newspaper article that serves as both a review and an appreciation of Rubens' intimate sketches and drawings. The combination of textual analysis and visual representation provides a comprehensive view of Rubens' artistic legacy, emphasizing his ability to convey profound emotion and narrative through small, detailed works. The inclusion of a specific artwork ("St. Gregory of Nazianzus Sobrietude Hero") adds a tangible connection to the artist's creative process.
This image shows a newspaper clipping from "The New York Times, Sunday, March 25, 1956." The article's headline is "INTIMATE RUBENS" and is subtitled "Sketches for Big Projects, Together With Drawings, at Morgan Library." The piece is written by Stuart Preston.
The article discusses an exhibition at the Morgan Library featuring drawings and sketches by Peter Paul Rubens, a prominent Flemish artist from the Baroque period. These works are considered to provide insight into Rubens' preparatory process for larger projects. The text makes several art historical references and compares the stature of sketching in Rubens' era to the period when the article was written.
At the bottom of the clipping is a reproduced image of one of Rubens' works, with the caption: "'St. Gregory of Nazianzus Subduing Heresy,' lent by the Buffalo Fine Arts Academy for the show of Rubens' sketches and drawings at the Morgan Library." The image appears to be a monochromatic depiction of Saint Gregory engaged in a passionate and dynamic gesture, typical of Rubens' dramatic style. The actual sketch or drawing is rendered in a dark, sepia-like tone, emphasizing movement and expression, which Rubens was renowned for.
This is a clipping from The New York Times dated Sunday, March 25, 1956, with the headline "INTIMATE RUBENS: Sketches for Big Projects, Together With Drawings, at Morgan Library." The article is written by Stuart Preston and discusses the artistic mastery of Peter Paul Rubens, particularly emphasizing his sketches and drawings displayed at the Morgan Library.
The text reflects on Rubens' unique talent and his approach to art, noting the rarity and value of his small panel sketches and unfinished works. It highlights the challenges of preserving such works, mentioning specific examples like the ceiling of the Jesuit Church of St. Charles Borromeo in Antwerp, which was destroyed by fire, and other lost works.
The article also explores Rubens' artistic style, emotional intensity, and skill in drawing, focusing particularly on a sketch titled "St. Gregory of Nazianzus Subduing Heresy," lent by the Buffalo Fine Arts Academy for the show.
Below the article, there is a printed image of the sketch "St. Gregory of Nazianzus Subduing Heresy," which features a dramatic, swirling composition typical of Rubens’ Baroque style, showing a figure in flowing robes engaged in a dynamic, almost ethereal scene.
The article contains further references to notable prints, other artists, and exhibitions relevant to the period, celebrating the breadth and influence of Rubens’ artistic legacy.
The image is an old newspaper clipping from The New York Times, dated Sunday, March 25, 1956, with an article titled "Intimate Rubens" by Stuart Preston. The article describes an exhibition at the Morgan Library showcasing sketches and drawings by Peter Paul Rubens. It discusses the artist's creative process, emotional intensity, and the broader scope of his artistic genius beyond painting, including book illustrations and tapestry design. There is a central image at the bottom featuring a sketch titled "St. Gregory of Nazianzus Subduing Heresy," attributed to Rubens and lent by the Buffalo Fine Arts Academy for the exhibition. The article provides detailed commentary on Rubens' works and highlights clues to lost works and thematic elements present in his art.