The parens patriae : familial imagery in Rubens's Minerva protects Pax from Mars

Author

Rosenthal, Lisa

Document type

Article (journal)

Language

English

Source

Art history. 1989, Num. 1, Vol. 12, p. 22-38, 13 ill.

ISSN

0141-6790

Abstract (en)

In the Portrait of Deborah Kip and her Children (Washington, National Gallery), 1630, Rubens uses the address to the viewer to promote an image of family constituted by the father's gaze. In the Minerva Protecting Peace from Mars (London, National Gallery) domestic concerns are transformed into political concerns: family serves as the model for the State, and the viewer is Charles I. The London allegory reflects Rubens's own values, as further exemplified in other works, especially paintings of his own family.

Subject (en)

• General history of art -- 1400-1800 -- Pictorial arts -- Painting and drawing -- Belgium
• 1600-1700
• Painting
• Portrait of Deborah Kip and Her Children
• National Gallery||London (GBR)
• Allegory
• Family
• State
• Rubens, Peter Paul, 1577-1640
• Belgium
• Portraits
• National Gallery of Art||Washington, DC (USA)
• Charles I, king of England, Scotland and Ireland, 1600-1649
• Iconography

Subject (fr)

• Histoire générale de l'art -- 1400-1800 -- Peinture et arts graphiques -- Peinture et dessin -- Belgique
• 1600-1700
• Peinture
• Portrait de Deborah Kip et de ses enfants
• National Gallery||London (GBR)
• Allégorie
• Famille
• Etat
• Rubens, Peter Paul, 1577-1640
• Belgique
• Portrait
• National Gallery of Art||Washington, DC (USA)
• Charles I, roi d'Angleterre, d'Ecosse et d'Irlande, 1600-1649
• Iconographie

Origin

DatabaseBHA (Inist-CNRS/GRI)

Identifier19910101-00446394

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