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Rubens Remaking Rubens: Self-Repetit...

Daiman, Marina,

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Rubens Remaking Rubens: Self-Repetition, Transformation, and Invention in Early Modern Art /

Record Type:	Electronic resources : Monograph/item
Title/Author:	Rubens Remaking Rubens: Self-Repetition, Transformation, and Invention in Early Modern Art // Marina Daiman.
Author:	Daiman, Marina,
Description:	1 electronic resource (538 pages)
Notes:	Source: Dissertations Abstracts International, Volume: 78-03, Section: A.
Contained By:	Dissertations Abstracts International78-03A.
Subject:	European history. -
Online resource:	https://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=10139511
ISBN:	9781339949970

Rubens Remaking Rubens: Self-Repetition, Transformation, and Invention in Early Modern Art /
Daiman, Marina,

Rubens Remaking Rubens: Self-Repetition, Transformation, and Invention in Early Modern Art /Marina Daiman. - 1 electronic resource (538 pages)

Source: Dissertations Abstracts International, Volume: 78-03, Section: A.

This dissertation examines, on the one hand, the practice of self-repetition in the work of Peter Paul Rubens, and, on the other, early modern attitudes to creativity and replication. Unlike Michelangelo, who, according to Ascanio Condivi, never repeated a line, Rubens made extensive use of recycling. Elements reused in different works underwent various degrees of transformation to ensure their successful integration into a new whole. The strategy of recycling was applied not only across the artist's entire oeuvre, in various compositions on different subjects, but also across works devoted to the same theme, such as the Descent from the Cross. Rubens's creative prowess is amply demonstrated in his almost endless variations on the topic. In these compositions the artist often reused and recombined earlier elements in a new way, providing fresh solutions and thus demonstrating that repetition and originality need not be seen as mutually exclusive. The close analysis of works of art is juxtaposed with a thorough examination of contemporary sources. The early modern notion of invention was far from a monolithic concept, its understanding shifting over time and across different authors. Most importantly, it simultaneously embraced the idea of novelty and that of repetition. The success of a work of art was often understood to be dependent on the beauty of its invention, and therefore it was frequently perceived as precious and requiring protection from infringement. The examination of early modern attitudes to self-repetition recovered from primary and secondary sources leads me to conclude that Rubens used certain strategies of transformation in order to disguise his self-replication. Artists' anxiety over self-reproduction is confirmed by their own testimonies, from Michelangelo to Artemisia Gentileschi, Poussin, and Rubens himself. Supporting evidence from correspondence, poetry, art theory, and artist biographies demonstrates there was far more ambivalence about self-repetition than modern scholarship has allowed. Through a thorough investigation of both artistic practice and early modern sources, this dissertation attempts to contribute to a better understanding of Rubens's creative process and thereby yield a more balanced view of early modern conceptions of replication and creativity - a view that has long been hindered both by modern notions of uniqueness and singularity of artistic expression, and by postmodern biases for reproduction and derivation.

English

ISBN: 9781339949970Subjects--Topical Terms:

1972904
European history.
Subjects--Index Terms:

Creativity

Rubens Remaking Rubens: Self-Repetition, Transformation, and Invention in Early Modern Art /
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520 $a This dissertation examines, on the one hand, the practice of self-repetition in the work of Peter Paul Rubens, and, on the other, early modern attitudes to creativity and replication. Unlike Michelangelo, who, according to Ascanio Condivi, never repeated a line, Rubens made extensive use of recycling. Elements reused in different works underwent various degrees of transformation to ensure their successful integration into a new whole. The strategy of recycling was applied not only across the artist's entire oeuvre, in various compositions on different subjects, but also across works devoted to the same theme, such as the Descent from the Cross. Rubens's creative prowess is amply demonstrated in his almost endless variations on the topic. In these compositions the artist often reused and recombined earlier elements in a new way, providing fresh solutions and thus demonstrating that repetition and originality need not be seen as mutually exclusive. The close analysis of works of art is juxtaposed with a thorough examination of contemporary sources. The early modern notion of invention was far from a monolithic concept, its understanding shifting over time and across different authors. Most importantly, it simultaneously embraced the idea of novelty and that of repetition. The success of a work of art was often understood to be dependent on the beauty of its invention, and therefore it was frequently perceived as precious and requiring protection from infringement. The examination of early modern attitudes to self-repetition recovered from primary and secondary sources leads me to conclude that Rubens used certain strategies of transformation in order to disguise his self-replication. Artists' anxiety over self-reproduction is confirmed by their own testimonies, from Michelangelo to Artemisia Gentileschi, Poussin, and Rubens himself. Supporting evidence from correspondence, poetry, art theory, and artist biographies demonstrates there was far more ambivalence about self-repetition than modern scholarship has allowed. Through a thorough investigation of both artistic practice and early modern sources, this dissertation attempts to contribute to a better understanding of Rubens's creative process and thereby yield a more balanced view of early modern conceptions of replication and creativity - a view that has long been hindered both by modern notions of uniqueness and singularity of artistic expression, and by postmodern biases for reproduction and derivation.
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