"The painting of the Virgin Mary and the Child with Saints" by Rubens, which is a preliminary drawing for the high altar of a church in Antwerp. This painting shows how well he got to know his Italian predecessors and how boldly he cultivated their ideas. Because he traveled to Rome in Italy in 1600, but also stayed in the cities of Genoa and Mantiva, and although he remained a true Flemish inside himself, he listened to many heated artistic discussions and learned from them, but he has not joined any of those movements or groups.
The theme of this work is the same ancient and sacred theme of Virgin Mary with saints that other painters such as Bellini and Titien have also worked in this field. It may be appropriate to return to those images once again to find out that Rubens was able to represent this motif tested by past painters with exemplary mastery and ease. What attracts attention at the first glance is that there is more movement, light, space and people in this painting than in the previous paintings.
The saints move with excitement around the high throne of the Virgin Mary. In the foreground, Saint Augustine Bishop, Saint Lawrence Martyr with the metal grid by which he was martyred, and Nicholas Saint Nicholas from Tolentino direct the viewer's gaze to the subject of the prayer. St. George with a dragon and St. Sebastian with a cross and arrows look into each other's eyes with an emotional expression, and a man of war - holding the palm of martyrdom - is about to kneel before the throne of the Virgin Mary. A group of women, among whom is a nun, are watching the main scene in a state of trance. In this scene [in front of the Virgin Mary's feet] a young girl is kneeling next to a small angel to receive a ring from the baby Jesus; And we see the baby Jesus leaning over his mother's lap towards this young girl. This scene is the story of Saint Catherine's wedding, who saw such a scene in a revelation and considered herself the wife of Christ. Saint Joseph looks at the scene with a loving look from behind the throne of the Virgin Mary. Saints Peter and Paul - the main characteristic of which is the key and the other the sword - are standing in a state of deep meditation. Their condition shows a striking contrast with the firm figure of St. John on the other side of the picture, standing alone in the light and raising his hands in ecstatic praise; Meanwhile, two other little angels descend to hold a wreath over the Virgin Mary's head.
Finally, after examining the details, we take another look at the panel collection and admire the great work of Rubens in gathering all the characters together and creating an atmosphere full of joyful and passionate dignity. It was only natural that a master who could design such extensive pictures with such confidence in his hand and eye should after a short time receive far more orders than he could handle alone. But there was no worry about that. Rubens was a person who had great organizational ability and great personal charm. Many talented Flemish painters were honored to work under him and thus learn from him. If he received an order for a new painting from the churches, or from one of the kings or princes of Europe, he himself would sometimes only draw a small colored sketch as a model. After this stage, it was up to the students or assistants to transfer these ideas to the big screen. Only when the background and design of the work were adapted to the master's ideas would he pick up the brush again and touch a face or a fold of clothing and such, or pay sharp contrasts. He was sure that his brush could quickly bring anything to life, and it was true.
Prepared and arranged by: Mustafa Banj Shafiei
