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Previously published in the Pictura Nova Series I
G. Wilmers, Cornelis Schut (1597–1655): A Flemish Painter
II
H. Mielke, Pieter Bruegel: Die Zeichnungen, 1996
III
F. Healy, Rubens and the Judgement of Paris: A Question of Choice, 1997
IV
L. W. Ruby, Paul Bril: The Drawings, 1999
V VI
K. Nelson, Jacob Jordaens: Design for Tapestry, 1998 B. Van Haute, David III Ryckaert: A Seventeenth-Century Flemish Painter of Peasant Scenes, 1999
VII
B. Werche, Hendrick van Balen (1575–1632): Ein Antwerpener Kabinettbildmaler der Rubenszeit, 2004 E. Gordenker, Van Dyck and the Representation of Dress in Seventeenth-Century Portraiture, 2001
IX
A. Heinrich, Thomas Willeboirts Bosschaert (1613/14–1654). Ein flämischer Nachfolger Van Dycks, 2003
X
K. Van der Stighelen (ed.), Munuscula amicorum. Contributions on Rubens and his Colleagues in Honour of Hans Vlieghe, 2006
XI
K. De Clippel, Joos Van Craesbeeck (1605/06–ca. 1660):
XII XIII
J. Howarth, The Steenwyck Family as Masters of Perspective, 2009 M. Lisken-Pruss, Gonzales Coques (1614–1684). Der kleine Van Dyck, 2013
XIV
K. Jonckheere, Adriaen Thomasz. Key (c. 1545–c. 1589). Portrait of a Calvinist Painter, 2007
XV
S. van Sprang, Denijs van Alsloot (vers 1568 ?-1625/26), Peintre paysagiste au service de la cour des archiducs Albert et Isabelle, 2014
XVI XVII
H. Vlieghe, David Teniers the Younger (1610–1690). A Biography, 2011
XVIII
B. Wolters van der Wey, Corporate Splendour: Civic Group Portraits in Brabant 1585–1800. A Social, Typological and Iconographic Approach, 2015
XIX
A. Stoesser, Van Dyck’s Hosts in Genoa: Lucas and Cornelis de Wael’s
This is Volume II of the three-volume catalogue raisonné of the drawings by Rubens covering the years 1609–20. The project is a collaboration between Anne-Marie Logan, to whom belong all the Rubens attributions, and Kristin Lohse Belkin. It is the first publication that presents the artist’s entire drawn oeuvre in chronological order, previous such publications containing only selections of drawings. By leafing through the illustrations, this arrangement offers the user a quick visual impression of the variety of techniques, media, subject matter and functions of Rubens’s drawings at any one time. Accordingly, Volume II consists of the drawings from the time of Rubens’s return from Italy and the establishment of his workshop in Antwerp to the completion of his contribution to the furnishing and decoration of the city’s new Jesuit church, today’s St. Charles Borromeo. The decade is characterized by a broad range of genres and iconography: large altarpieces stand next to cabinet-size pictures, book illustrations next to designs for tapestry, sculpture and architectural reliefs; religious, mythological and historical subjects alternate with allegories, portraits, exotic hunts and scenes from country life. Copies after works by other artists that constitute such a large part of Rubens’s early years discussed in Volume I have given way to original inventions in pen and ink and, above all, by life studies in chalk of the human body, naked or dressed. The whole spectrum of Rubens’s extraordinary creativity, nowhere presented as directly as in his drawings, is there to be contemplated in all its astonishing diversity. Each entry consists of a detailed physical description of the drawing, provenance, exhibition history, full bibliography and a critical, interpretive discussion. All drawings by Rubens as well as a selection of comparative images are reproduced in color.
C. Kleinert, Rubens (1577–1640) and His Landscapes: Ideas on Nature and Art, 2014
XXI
anne-marie logan is a specialist in Rubens’s drawings and in those of his Flemish contemporaries, especially Van Dyck’s. She started her work on the present catalogue in 1972, collecting the vast amount of material that would go into a project of this scope. Her work resulted in two major exhibitions, Flemish Drawings in the Age of Rubens: Selected Works from American Collections, Wellesley College and Cleveland Museum of Art, 1993–94, and Peter Paul Rubens: The Drawings, at the Metropolitan Museum of Art, New York, 2005, with a previous showing at the Albertina, Vienna. In addition, Dr. Logan published catalogues of the drawings and watercolors in the Yale University Art Gallery (1970) and the Detroit Institute of Arts (1987) as well as numerous articles and book and exhibition reviews on Rubens and 17th-century Flemish drawings.
Anne-Marie Logan and Kristin Lohse Belkin
Lives, Business Activities and Works, 2018 XX
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The Drawings of Peter Paul Rubens: A Critical Catalogue
K. Jonckheere, Willem Key (1516-1568). Portrait of a Humanist Painter, 2011
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L. Yaeger-Crasselt, Michael Sweerts (1618–1664). Shaping the Artist
The Drawings of anne-marie logan kristin lohse belkin
kristin lohse belkin is a Rubens specialist who has carried out extensive research on the artist. She is the author of a book on Rubens published by Phaidon in their Art & Ideas series (1998) and has contributed to the Corpus Rubenianum Ludwig Burchard (1980 and 2009). In 2000 and 2004, respectively, she co-curated two exhibitions at the Rubenshuis in Antwerp: Images of Death: Rubens copies Holbein (with Carl Depauw) and A House of Art Rubens as Collector (with Fiona Healy). In addition, Dr. Belkin has written articles and lectured widely on Rubens and Flemish art.
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Een Brabants genreschilder, 2006
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The Drawings of Peter Paul Rubens A Critical Catalogue ii text
of the High Baroque, 1996
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Peter Paul Rubens A Critical Catalogue Volume Two | 1609–1620
and the Academy in Rome and Brussels, 2015 XXII
A.-M. Logan, in collaboration with K. Lohse Belkin, The Drawings of Peter Paul Rubens: A Critical Catalogue, Volume I, 1590–1608, 2021
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