Two portraits of Peter Paul Rubens and Anthony van Dyck - Paulus Pontius (I) - 1618 - 1658

Artworks with the same keyword

Portrait of Roeland de Grass (+1645) - Jacob van Oost I - 1601 - 1700
Portrait of K. de Meulenaere - Anonymous - 1699
Portrait of A. de la Coste - Anonymous - 1601 - 1700
Portrait of Frans Stappens - Jacob van Oost II - 1699
Maria van Ghinderdeuren - Cornelis de Vos - circa 1625
Portrait of a Family - Philip Fruytiers
Helena Fourment - Jan Boeckhorst
Portrait of Pieter C. van der bruggen (+1699) - Jacob van Oost II - 1695
Portrait of Barbara Happaert - Anonymous - 1661
Portrait of Frans Francken - Anthony van Dyck - 1630 - 1640
Triptych of Pieter Damant - Otto van Veen
Portrait of Pieter Breughel (II the youngster) - Anthony van Dyck - 1630 - 1640

Two portraits of Peter Paul Rubens and Anthony van Dyck

Artist: 
Paulus Pontius (I) (graveur)
Artist: 
Anthony van Dyck (naar)
Artist: 
Franciscus Huybrechts (publisher)
Artist: 
Erasmus Quellinus I
Dated: 
1618 - 1658
Dimensions: 
485.0 mm x 388.0 mm
Inventory number: 
RH.P.0506
Museum:
Museum Plantin-Moretus/ Print Room
Subcategory:
17th century
Type:
Print

On the left we see Rubens, on the right Van Dyck, placed in two lyre-shaped planes and surrounded by decorative wings, fruit, and trumpet-blowing putti (small nude children). Under the portraits lie the painters’ coats of arms. In the centre the heads of Mercury and Apollo are depicted. In the foreground two putti are crowning with laurels a lion whose paw is resting on the globe. Here Erasmus Quellinus brought together two grandmasters of Antwerp baroque painting. For this purpose he went back to the prints which in their turn were based on a self-portrait of the masters. Rubens’s self-portrait preserved in the KMSKA in Antwerp was converted into an engraving by Paulus Pontius, and served as the basis for the engraving by Quellinus. The portrait of Van Dyck went back to a self-portrait of Van Dyck that he made for his Iconography. The portrait did not achieve the grace of Van Dyck’s self-portrait. The edge decoration is by far more impressive, with every detail contributing to the glorification of the two grandest masters of the Antwerp school of painting. Theodoor Boeyermans started from this engrving for the portraits of Rubens and Van Dyck in his painting Antverpia Pictorum Nutrix (Antwerp is feeding the art of painting).