FESTIVITY. Rubens prints II

Antoine Trouvain (1656 – 1708)
The Wedding of Marie de' Medici to King Henry IV, 1704 
Engraving

Wedding festivities took on a key function in a courtly context. They strengthened dynastic ties and contributed to the calming of conflicts. At the same time, elaborate festivities served to demonstrate the wealth and superiority of the royal family. On 5 October 1600, Marie de’ Medici married the French king Henry IV. An important reason behind this match is said to be the high debts which the king owed to the Medici house. As the groom was at war, Marie’s uncle took his place during the wedding. Rubens emphasises the festive scene by portraying luxuriant floral decorations and ostentatious clothes of those present. He did not attend the wedding himself, but was present for the subsequent festivities.

Christoffel Jegher (1596 – 1653)
The Garden of Love, 1630
Woodcut from two plates

Rubens painted The Garden of Love for himself and his young wife Hélène Fourment, who he married in the same year. The scene depicts a society under the influence of the goddess of love, Venus. On the left, the Three Graces represent the different forms of love: the ecstatic, the prudent, and motherly love. Numerous symbols of marriage can also be identified: bridal flowers are growing in various places on the grass, and a cherub is carrying the torch of Hymen, the god of marriage.

Frans van den Wyngaerde (1614 – 1679)
The Wedding of Peleus and Thetis, 17th century
Etching

The wedding of Peleus and Thetis was disrupted by the goddess Eris, who threw a golden apple with the inscription “for the fairest one”. This led to a quarrel between Hera, Athena and Aphrodite, which ultimately triggered the Trojan War.
The painting which the etching was based on is likely to have been made by Jacob Jordaens. It displays human weaknesses such as vanity and pride which can lead to severe conflicts.

Schelte à Bolswert (1581 – 1659)
The Castle Park, 1630s
Engraving

The engraving shows an elegantly dressed company passing the day with games and music. On the far right is a couple, probably Rubens and his second wife Hélène Fourment. Right next to them is a young man trying to put grass under his companion's skirt. The playful scene is set in a park that seems to belong to a medieval castle.

Schelte à Bolswert (1581 – 1659)
The Rainbow Landscape, 17^th century
Engraving

The pastoral idyll is understood to be a counterpart to the elegant scenes in The Garden of Love and The Park of a Castle. Here, the beholder is shown a calm, peaceful gathering instead of a raucous celebration. The small group of shepherds and farmers seem to be a natural part of the surroundings. The focus is not on the exuberance of the celebration; instead, a rural ideal with mythological echoes is shown.

Jonas Suyderhoef (1613 – 1686)
Drunken Bacchus Helped on his Way, 2^nd half of the 17^th century
Etching and engraving

Rubens very rarely depicted the god Dionysus in person. The work by Suyderhoef, based on a lost painting by Rubens, shows the god of wine as a drunk young man. He is surrounded by an entourage of four revellers, two of whom must support him. In addition to the entertaining quality of the work, the consequences of excessive wine consumption are also addressed. The way that Dionysus is supported is clearly reminiscent of Drunken Silenus.

Alexander Voet II. (1637 – 1705)
Satyr and Bacchante, 17^th century
Engraving

In Greek mythology, satyrs are half-human nature spirits and companions of Dionysus, the god of wine. They symbolise the human passions. In Voet’s copperplate engraving, the smiling satyr is accompanied by a nymph who is helping herself to the enticing fruits in his basket. The fruit represents temptation and pleasure, and the scene can also be interpreted as a warning of the dangers of a lack of restraint and intemperate sensuality.

Christoffel Jegher (1596 – 1653)
Drunken Silenus, c. 1633/35
Woodcut

The Bacchanalia, an exuberant festival to honour Dionysus, god of wine, was a popular theme in baroque art. The depictions often focus on sensual delights and merriment. Jegher’s woodcut, based on a drawing of Ruben’s, shows a group of drunken partygoers. At the centre of the humorous scene, we see the staggering Silenus, who has to be supported by his companions.

Unknown Engraver
Drunken Silenus Supported by Satyrs, 17^th century
Etching

In his depiction of Silenus accompanied by satyrs and peasants, Rubens perhaps drew some inspiration from Metamorphoses by the Roman author Ovid. Excessive consumption of wine was already viewed critically in classical literature. In connection with political leaders, excessive eating and drinking was seen as the expression of poor control. This interpretation was certainly known to Rubens, as he received a comprehensive education in the classics.

Philippe Joseph Tassaert (1732 – 1803)
The Fair or Wedding in the Village, 1762
Etching

The Fair depicts an exuberant celebration on a village square. The scene is full of activity and details: children are playing, dogs are prowling around, adults are enjoying conversation, drinking beer or dancing exuberantly. The composition strikes a balance between Flemish tradition and the idea of universal enjoyment. The cheerful atmosphere is reminiscent of bacchanal scenes which often take place in a rural setting.

Jean Audran (1667 – 1756)
The Coronation in Saint-Denis, 1710
Engraving

The coronation of Marie de’ Medici in the Basilica of St Denis on 13 May 1610 was of great symbolic and political importance. As one of the last solemn acts before the death of Henry IV, the ceremony secured Marie’s position as Queen of France and laid the foundations for her later reign. The splendour of the coronation festivities was not just a demonstration of power, but also the representation of her divine purpose. Rubens’ work presents the ceremony as a sumptuous event which is underpinned by heavenly symbols and prestigious tokens to reinforce Marie’s claim to power.

Willem de Leeuw (1603 – 1665)
Drunken Loth and his Daughters, 1^st half of the 17^th century
Etching

The etching shows a scene from the book of Genesis in which Lot seeks refuge in a cave along with his daughters after the destruction of Sodom. The women are pouring wine for the father, with the aim of getting him drunk so that he will sleep with him and they can bear him children. The depiction poses questions about responsibility, morals, but also about the effects of excessive alcohol consumption on human behaviour and social relationships.

Frans van den Wyngaerde (1614 – 1679)
Soldiers and peasants sitting and fighting near a table, 1640 – 50
Etching and engraving

At first glance, it looks like a relaxed and convivial scene, but if you look more closely, you will see it as a critical representation of the time: roving mercenaries harass peasants, steal their food and money, and amuse themselves at their expense. The reproachful tone of the composition is unmistakable. Rubens makes reference to the dreadful consequences of war, particularly those which the rural population had to suffer.

Schelte à Bolswert (1581 – 1659)
Saint Cecilia Playing the Organ, 17^th century
Engraving

Saint Cecilia is often portrayed with a musical instrument such as a spinet, because she is honoured in Christian tradition as the patron saint of church music. Her life and legend are strongly linked with music: during her wedding, she is said to have sung for God alone, though the ceremony was a worldly affair. Later, this song was interpreted as an expression of her spiritual commitment.