Rubens and the Eloquence of Drawing (Record no. 7047)

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001 - CONTROL NUMBER
control field 1351770888
005 - DATE AND TIME OF LATEST TRANSACTION
control field 20250317111635.0
008 - FIXED-LENGTH DATA ELEMENTS--GENERAL INFORMATION
fixed length control field 250312042017GB 190 eng
020 ## - INTERNATIONAL STANDARD BOOK NUMBER
International Standard Book Number 9781351770880
037 ## - SOURCE OF ACQUISITION
Source of stock number/acquisition Taylor & Francis
Terms of availability GBP 46.99
Form of issue BB
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Original cataloging agency 01
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Language code of text/sound track or separate title eng
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100 1# - MAIN ENTRY--PERSONAL NAME
Personal name Catherine H. Lusheck
245 10 - TITLE STATEMENT
Title Rubens and the Eloquence of Drawing
250 ## - EDITION STATEMENT
Edition statement 1
260 ## - PUBLICATION, DISTRIBUTION, ETC.
Place of publication, distribution, etc. Oxford
Name of publisher, distributor, etc. Routledge
Date of publication, distribution, etc. 20170807
300 ## - PHYSICAL DESCRIPTION
Extent 344 p
520 ## - SUMMARY, ETC.
Expansion of summary note Rubens and the Eloquence of Drawing re-examines the early graphic practice of the preeminent northern Baroque painter Peter Paul Rubens (Flemish, 1577–1640) in light of early modern traditions of eloquence, particularly as promoted in the late sixteenth- and early seventeenth-century Flemish, Neostoic circles of philologist, Justus Lipsius (1547–1606). Focusing on the roles that rhetorical and pedagogical considerations played in the artist’s approach to disegno during and following his formative Roman period (1600–08), this volume highlights Rubens’s high ambitions for the intimate medium of drawing as a primary site for generating meaningful and original ideas for his larger artistic enterprise. As in the Lipsian realm of writing personal letters – the humanist activity then described as a cognate activity to the practice of drawing – a Senecan approach to eclecticism, a commitment to emulation, and an Aristotelian concern for joining form to content all played important roles. Two chapter-long studies of individual drawings serve to demonstrate the relevance of these interdisciplinary rhetorical concerns to Rubens’s early practice of drawing. Focusing on Rubens’s Medea Fleeing with Her Dead Children (Los Angeles, Getty Museum), and Kneeling Man (Rotterdam, Museum Boijmans Van Beuningen), these close-looking case studies demonstrate Rubens’s commitments to creating new models of eloquent drawing and to highlighting his own status as an inimitable maker. Demonstrating the force and quality of Rubens’s intellect in the medium then most associated with the closest ideas of the artist, such designs were arguably created as more robust pedagogical and preparatory models that could help strengthen art itself for a new and often troubled age.

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