126 Rubens, Elevation of the Cross
Rubens in Catholic Flanders
The two most important artists of the Baroque era in Northern Europe (what we knew as Flanders in the fifteenth century)—Rubens and Rembrandt—worked under enormously different circumstances, even though they lived only a few hundred miles apart, because Flanders became divided along religious lines in the sixteenth century. The area which is today Belgium remained Catholic (where Rubens lived), while the area which is today the Netherlands, or Holland (where Rembrandt lived) broke away from Catholic Spain (which had controlled it) and established an independent Republic that was predominantly Calvinist (a form of Protestantism).
Success in More than Just Painting
Rubens was an enormously successful artist in the first half of the 1600s. His paintings were sought after by important patrons all over Europe. A shrewd businessman, Rubens was also a devout Catholic. He is also a perfect example of the changed status of the artist: his friends and confidants were scholars, aristocrats, and even the royal families of Europe (Rubens was so trustworthy and clever that he served as a diplomat).
Travel to Italy
Rubens spent several years in Italy early in his career studying Italian Renaissance art, as well as the art of classical antiquity. He combined this with the influence of Caravaggio, the Venetian artists of the Renaissance, and the tradition of his native Flanders (think Campin and Van Eyck). Rubens was so successful that he set up a large studio in his native Antwerp (which you can still visit). There, he churned out large numbers of paintings for his royal and wealthy clients, and charged for the paintings according to how much he had personally painted. He was always responsible for the idea of a painting, but if his assistants executed most of it, the work was less expensive. In his studio Rubens had assistants working for him who specialized in different things, so they could all work on different parts of a single painting. Although Rubens perfected this system, we know that it was common practice for the “master” artist to have the idea and do much of the actual painting, but to have apprentices and assistants work on it too.
Nine Men Raise the Cross
In the central panel of the triptych of The Elevation of the Cross nine enormous figures with bulging muscles struggle to raise the heavy wooden cross that Christ is nailed to.
One can almost hear them grunt as they use all their strength to lift the cross. Their bodies form a compendium of different positions of the human body as it heaves a great weight: some figures at the top of the cross push forward from below, another at the center of the cross lifts straight up as he leans his body back, another figure has placed his body under the cross and uses the strength of his legs to lift it, while two others crouch at the base of the cross to pull it up and forward. Another figure helps from atop some branches and rocks, and still anot