The Minneapolis journal. [volume] (Minneapolis, Minn.) 1888-1939, 1906-02-18
Art Aids for
Busy P ople
BY MARTHA G.. WELLS.
Chairman OF the Art Committee qf
the State Federation.

lll--kuD6nS masterpiece, LAO ~
scent from the Cross-The Artist
and Ills Works Caffn IS Choice
New Book Dates Of the State Art
Society Exhibit.
~H HE cathedral at Antwerp is the |
finest Gothic church Il the
Netherlands, Of the usual plan
of cross, and altho5 smaller than that
Of Cologne or st. Paul g, London, the
interior is grand and impressive.
Many visitors go to Antwerp expressly
to see Rubens famous Descent from
the Cross" in tho south transept.
Painted in 1912 for an altar piece,
designed to be seen from a long dis
tance, 1t is the center panel Of a trip
tvch the wings having scenes from
the Savior IS life It is superior to the
companion piece, The Elevation OF |
the Cross, y in. the north transept.
AS religious picture it arouses
emotions Of both awe and pity. The
portrayal is not the anguish Of cruel
fixion, but the deposition of the life
less, inert body from the cross, this pc
ing tenderly done by q few faithful
followers, attended by the three Marys
in helpless sorrow and loving reverence.
STUDY III OOHtIdSCo'
AS a work Of art it is a study in con-
trasts. The central figure OF the dead
Christ is greatly accentuated by the
effect of the long, white winddlngsheet
whereon it rests, and the deep shades
of night which envelop the entire
| group. b
| The nine large figures form unit Of
strength, from the two muscular -help-
crs at the top of the rude cross, shown
with mastery foreshortening; the firm
figure of Joseph of Arimathea, superln-
tending the deposition; the sturdy atti-
1 tude Of the beloved John receiving the
sacred burden; the eagerness !, with
which Peter looks on, midway on the
ladder, to the three women kneellng
. with outstretched arms and reverentlal
4 touch at the foot of the cross. Con-
trast this with the limp helplessness Of
the sacred figure, and the fallen head
which is the focal point Of the picture.
Also the deep shadows Of night are
4 almost black in tone. The robes OF
/ the attendants are dark lumber or dull
red, in vivid contrast to the flesh tint
or snowy linen.
Emanating from the central figure,
the light illumines every face, touches
the lines Of drapery and emphasizes the
action Of the hands.
i Light and shadow, helplessness ano
strength, tenderness and suffering
plant grace and sturdy activity, life
and death, what a perfect unity as 6
whole and wonderful study Of contrast
in art.
! An Outline for Students.
i Outline study for the life and works
f. Of Peter Paul Rubens, l577-l640.
4 l. His life. and art training.
Il q. Work in Italy.
! 8. Series Of French pictures.
4. Patronage in England and Spain
! S. His pictures in Flanders.
II 6. characteristics and comparisons
Il ~. Reference books and magazines.
q " Notes on the Outline. so5 .
. During the temporary exile Of hi
e parents from Antwerp, caused by civi
!. and religious strife, Rubens was Dor
r near Cologne. From early precocit
|, in art, she received the besto instructio
= on returning to FLANDERS, ana when 2
g Invent to Italy fors further study Al
= = tracing sducal attention, he RENAME
= there studying the most celebrate
!. masters, and while his work and choie
J. Of subjects during the eight veal
= showed the reflections Of these exper
e ences, yet he did not sacrifice his il
g diyiduality, but rather formed bon
= Of union-the art of the north an
- = south. In 1908 he returned home wit
: established reputation and amp
:; patronage from the court of IL
If Netherlands.
al Invited by the Mcclellan queen
Is Henry Nv to Paris, to embellish tt
!, Luxembourg palace, he was commi
J, y stoned to paint two great series Of pi
II II lures depicting in one the events in h
"a own life, and in the other that Of II
king. He executed twentyone gre
es pictures, giving full scope to his hi
ag torical, NEUROLOGICAL, loving imagin
q ton. The remainder were new
ke painted owing to the exile of Mar
he de Medici. i:
Il The great scheme for these spectac
IN lar canvases comprised the life Of t.
70 queen mother, her infancy accompani
: BY mythical forecasts by goddesses
Of her regal position, the nuptials, coron
in tion, regency for the dauphin, Lot
or XIII, under the protection Of Olymp1
prosperity and treaties Of the reie
20 and give perfect idea Of his talent T
~ 81 pageantry and large composition
N, Imposing groups; superb costumes,
,rs gal magnifcence, brilliant coloring,
TIL blend in harmonious effects.
zee Designed for the Partisan pala
vs.. patterned after the Florentine Pc
IS home Of the queen, they were later ]
~ ~ moved to the Louvre to supply t
oI1I places made vacant when the trea
of peace compelled the return to va
Of ous countries Of the pictures confis'
lal ted by Napoleon, but intended as
he integral part Of the Luxembourg
in ace in mural decorations, they We
M never well placed after removal IN
ne ne The. latest arrangement of the Louy
1903, set them as superb panels on
eW. walls of the salon, formerly the Sta
o1 , hall. s-
leus While painting in Paris, the du
az !, of Buckingham influenced Rubens
= go to England, where he not only
ne cured the art patronage Of Charles
81 > 5 but was also sent to Spain in dip
; matte relations This gave him the (
portunity to study Spanish maste
Besides the many pictures painted
edi- England, he was persuaded to sell