Figuring Faith and Female Power in the Art of Rubens / / J. Vanessa Lyon.

• Superior document: Title is part of eBook package: De Gruyter Amsterdam University Press Complete eBook-Package 2020
• VerfasserIn: Lyon, J. Vanessa,
• Place / Publishing House: Amsterdam : : Amsterdam University Press, , [2020]; ©2020
• Year of Publication: 2020
• Language: English
• Series: Visual and Material Culture, 1300 –1700 ; 23
• Physical Description: 1 online resource (256 p.) :; 20 color plates, 70 halftones
• Other title: Frontmatter --; Table of Contents --; List of Illustrations --; Acknowledgements --; Prologue --; Introduction --; 1. Samson and Dilemma: Rubens Confronts the Woman on Top --; 2. Making Assumptions: Marian Tropes after Italy --; 3. Maria de’ Medici and Isabel Clara Eugenia --; 4. Peace Embraces Plenty: Queering Female Virtue at Whitehall --; 5. All That Depends on Color: Feminizing Rubens in the Seventeenth Century --; Epilogue --; About the Author --; Index
• Format: Mode of access: Internet via World Wide Web.
• ISBN: 9789048536665; 9783110689556; 9783110738230; 9783110696295; 9783110704655; 9783110704785; 9783110704716; 9783110704518; 9783110696301
• DOI: 10.1515/9789048536665?locatt=mode:legacy
• Access: restricted access
• Hierarchical level: Monograph
• Statement of Responsibility: J. Vanessa Lyon.

This book argues that the Baroque painter, propagandist, and diplomat, Peter Paul Rubens, was not only aware of rapidly shifting religious and cultural attitudes toward women, but actively engaged in shaping them. Today, Rubens's paintings continue to be used-and abused-to prescribe and proscribe certain forms of femininity. Repositioning some of the artist's best-known works within seventeenth-century Catholic theology and female court culture provides a feminist corrective to a body of art historical scholarship in which studies of gender and religion are often mutually exclusive. Moving chronologically through Rubens's lengthy career, the author shows that, in relation to the powerful women in his life, Rubens figured the female form as a transhistorical carrier of meaning whose devotional and rhetorical efficacy was heightened rather than diminished by notions of female difference and particularity.