Around the years 1630s, the artist Peter Paul Rubens (1577-1640) asked his pupil Abraham Van Diepenbeeck (1596-1675) to travel to Paris and accomplish a set of drawn copies after frescos made a...Show moreAround the years 1630s, the artist Peter Paul Rubens (1577-1640) asked his pupil Abraham Van Diepenbeeck (1596-1675) to travel to Paris and accomplish a set of drawn copies after frescos made a century before by the Mannerist artist Francesco Primaticcio and his assistant Niccolò dell'Abbate in different Parisian châteaus. In the year 2020, a hitherto unpublished group of 17 drawings and counterproofs by Van Diepenbeeck from this commission arose in the collections of the Rubenianum in Antwerp. This thesis explores the enterprise, with special attention to this set of 17 drawings and counterproofs. Moreover, it analyses the use that Rubens made of these drawn copies, back in his Antwerp workshop, as fundamental sources of inspiration for his future artworks.Show less
Copying other artists' paintings was an essential practice in the nineteenth century and has a rich culture. For art students, copying and that way learning from the old masters was seen as a vital...Show moreCopying other artists' paintings was an essential practice in the nineteenth century and has a rich culture. For art students, copying and that way learning from the old masters was seen as a vital element of their education. Also for artists it was essential to control the techniques of great artists to develop their inventiveness. The Sistine Madonna altarpiece by Raphael (1483-1520) was famous among students and artists who wanted to copy Raphael’s painting skills, sell a copy on the art market, or keep it in their possession. This painting also caught the attention of Paul Tétar van Elven (1823-1896), a Dutch artist who made nine painted (partial) copies of the Sistine Madonna next to some drawings. However, some of Tétar's copies are not faithfully copied, but instead, he has managed to add his own touches. This research investigates the copying culture and creative freedom of copyists in the nineteenth century, treating the copies of the Sistine Madonna by Paul Tétar van Elven after Raphael as a case study. The research question of this thesis therefore addresses the context in which the nineteenth-century Dutch artist Paul Tétar van Elven added his own touches to his (partial) copies of the Sistine Madonna after Raphael.Show less
