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"Jsem pouze prost\u00fd mu\u017e osamocen\u00fd se sv\u00fdmi star\u00fdmi \u0161t\u011btci \u017e\u00e1daj\u00edc\u00ed Boha o inspiraciraci.\u00ab\u00a0\u00a0(Peter Paul Rubens) <\/p>\n "Jsem pouze prost\u00fd mu\u017e osamocen\u00fd se sv\u00fdmi star\u00fdmi \u0161t\u011btci \u017e\u00e1daj\u00edc\u00ed Boha o inspiraciraci.\u00ab\u00a0\u00a0(Peter Paul Rubens) <\/p>\n
<\/p>\n
Vl\u00e1msk\u00fd mal\u00ed\u0159, pr\u00e1vem pova\u017eovan\u00fd za jednoho z nejv\u011bt\u0161\u00edch sv\u011btov\u00fdch mistr\u016f barokn\u00edho stylu, dok\u00e1zal spojit \u010detn\u00e9 rozporupln\u00e9 vlivy a st\u00e1t se tv\u016frcem monument\u00e1ln\u00edch d\u011bl, kter\u00e1 z\u00e1\u0159\u00ed lyrickou jemnost\u00ed a vyt\u0159\u00edbenost\u00ed k\u0159ivek. Jsou spole\u010dn\u00e1 nejen cel\u00e9 tehdej\u0161\u00ed katolick\u00e9 a absolutistick\u00e9 Evrop\u011b, ale i dne\u0161n\u00edmu sv\u011btu. <\/p>\n
Ze Siegenu do Antverp <\/p>\n
Peter Paul Rubens byl syn p\u0159edn\u00edho protestantsk\u00e9ho kon\u0161ela v Antverp\u00e1ch,\u00a0 jen\u017e "musel za v\u00e1lky o nez\u00e1vislost\u00a0 uprchnout s\u00a0\u00a0 rodinou\u00a0\u00a0 p\u0159ed\u00a0\u00a0 pron\u00e1sledov\u00e1n\u00edm \u0161pan\u011blsk\u00fdch\u00a0\u00a0 katol\u00edk\u016f\u00a0\u00a0 do\u00a0\u00a0 n\u011bmeck\u00e9ho\u00a0\u00a0 Siegenu. A pr\u00e1v\u011b v tomto m\u011bst\u011b se budouc\u00ed slavn\u00fd mal\u00ed\u0159 narodil 28.\u00a0 \u010dervna\u00a0 1577. Kdy\u017e bylo chlapci dvan\u00e1ct let, tak se jeho matka rozhodla k n\u00e1vratu do Antverp. V t\u00e9 dob\u011b ji\u017e byla vdovou, kter\u00e1 se musela t\u011b\u017ece starat o \u017eivobyt\u00ed. Ale kdy\u017e ji p\u0159\u00e1tel\u00e9 upozornili na syn\u016fv talent, souhlasila s t\u00edm, aby byl d\u00e1n do u\u010den\u00ed k jednomu antverpsk\u00e9mu krajin\u00e1\u0159i. \u010ctrn\u00e1ctilet\u00fd Peter se m\u011bl k sv\u011btu, a tak si je\u0161t\u011b vz\u00e1p\u011bt\u00ed zkusil i malov\u00e1n\u00ed historick\u00fdch motiv\u016f u dal\u0161\u00edch dvou u\u010ditel\u016f. <\/p>\n
Italsk\u00fd vliv <\/p>\n
V letech 1600 a\u017e 1608 pob\u00fdval Rubens v It\u00e1lii. P\u0159esn\u011bji \u0159e\u010deno pohyboval se od \u0158\u00edma p\u0159es Janov a Ben\u00e1tky do Mantovy, kde vstoupil do slu\u017eeb mantovsk\u00e9ho v\u00e9vody Vincenza Gonzagy. D\u00edky tomuto mecen\u00e1\u0161ovi se mohl voln\u011b pohybovat nejen po It\u00e1lii, ale m nohl si \u00bbodsko\u010dit\u00ab i do Madridu. Tam v\u0161ude "se inspiroval star\u00fdmi mistry, zejm\u00e9na Tizianem a Caravaggiem a d\u016fkladn\u011b do sebe vt\u0159eb\u00e1val italskou renesanci. Ke sv\u00fdm velk\u00fdm vzor\u016fm ov\u0161em \u0159adil i Adama Elsheimera, n\u011bmeck\u00e9ho mistra, autora n\u00e1bo\u017eensk\u00fdch a mytologick\u00fdch obraz\u016f mal\u00fdch form\u00e1t\u016f. Mo\u017eno \u0159\u00edci, \u017ee to byl pr\u00e1v\u011b italsk\u00fd vliv, kter\u00fd se podstatnou m\u011brou podepsal na jeho vynikaj\u00edc\u00ed technick\u00e9 dokonalosti i bohat\u00e9 tv\u016fr\u010d\u00ed invenci. <\/p>\n
Zp\u011bt do Antverp <\/p>\n
Kdy\u017e\u00a0 p\u0159i\u0161la z domova\u00a0 zpr\u00e1va o t\u011b\u017ek\u00e9 chorob\u011b matky\u00a0 z\u00e1rove\u0148 s nab\u00eddkou malovat pro \u0161pan\u011blsk\u00e9ho regenta, vr\u00e1til se do Antverp. Toto v\u00fdznamn\u00e9 belgick\u00e9 p\u0159\u00edstavn\u00ed m\u011bsto bylo tehdy pod \u0161pan\u011blskou nadvl\u00e1dou. S\u00e1m Rubens se netajil, \u017ee se hl\u00e1s\u00ed k pravov\u011brn\u00fdm katol\u00edk\u016fm. Nov\u00e9 postaven\u00ed mu umo\u017enilo z\u0159\u00eddit si v Antverp\u00e1ch d\u00edlnu a dokonce\u00a0 se vyhnout i placen\u00ed dan\u00ed a cechovn\u00edch poplatk\u016f. K jeho \u017e\u00e1k\u016fm\u00a0 v\u00a0 t\u00e9to\u00a0 d\u00edln\u011b tehdy pat\u0159il i mladi\u010dk\u00fd\u00a0 Anthonius van\u00a0\u00a0 Dyck, budouc\u00ed slavn\u00fd vl\u00e1msk\u00fd mal\u00ed\u0159 a mimo jin\u00e9 tv\u016frce z\u00e1klad\u016f anglick\u00e9 portr\u00e9tn\u00ed tradice, reprezentovan\u00e9 takov\u00fdmi d\u00edly jako nap\u0159\u00edklad Karel I. nebo James Stuart. A tak se Rubens krok za krokem, pl\u00e1tno za pl\u00e1tnem, st\u00e1val st\u00e1le uzn\u00e1van\u011bj\u0161\u00edm a vyhled\u00e1van\u011bj\u0161\u00edm um\u011blcem. K popularit\u011b jeho obraz\u016f p\u0159isp\u00edval nejen jejich monument\u00e1ln\u00ed z\u00e1b\u011br a zp\u016fsob, jak\u00fdm byly zachyceny postavy, n\u00fdbr\u017e i dynamika barev. K nejv\u00fdznamn\u011bj\u0161\u00edm n\u00e1m\u011bt\u016fm v jeho prac\u00edch pat\u0159ily n\u00e1bo\u017eensk\u00e9 motivy. Ji\u017e jeho prvn\u00ed obrazy po n\u00e1vratu z It\u00e1lie – zejm\u00e9na Stav\u011bn\u00ed k\u0159\u00ed\u017ee (1610) a Sn\u00edm\u00e1n\u00ed z k\u0159\u00ed\u017ee (1611-1614) pro m\u00edstn\u00ed katedr\u00e1lu Panny Marie – ho r\u00e1zem za\u0159adily mezi nejuzn\u00e1van\u011bj\u0161\u00ed vl\u00e1msk\u00e9 mal\u00ed\u0159e. A tak se vlastn\u011b ani nelze divit, \u017ee za\u010daly nar\u016fstat i objedn\u00e1vky, a to z nejvy\u0161\u0161\u00edch <\/p>\n
\u00abk\u016f tehdej\u0161\u00ed spole\u010dnosti. Za v\u0161echny ‚z\u00e1kazn\u00edky mo\u017eno vzpomenout \u0161pan\u011bl-m\u00edstodr\u017eitele tehdej\u0161\u00edch nizozemsk\u00fdch jvinci\u00ed, jezuity z Antverp a z N\u011bmecka, dokonce p\u0159ich\u00e1zely zak\u00e1zky na obrazy od francouzsk\u00e9ho kr\u00e1le Ludv\u00edka XIII., \u0161pan\u011blsk\u00e9ho kr\u00e1le\u00a0 Filipa\u00a0 III. a anglick\u00e9ho kr\u00e1le Karla\u00a0\u00a0 I.\u00a0\u00a0 Vypracoval\u00a0\u00a0 i\u00a0\u00a0 s\u00e9rii\u00a0\u00a0 alegorick\u00fdch obraz\u016f ze \u017eivota Marie Medicejsk\u00e9, kter\u00e9 jsou nyn\u00ed v pa\u0159\u00ed\u017esk\u00e9m Louvr\u016f. Tato francouzsk\u00e1 kr\u00e1lovna (nepl\u00e9st s jej\u00ed vzd\u00e1lenou pratetou\u00a0 Kate\u0159inou\u00a0 Medicejskou)\u00a0 –\u00a0 matka kr\u00e1le Ludv\u00edka XIII. – musela sice roku 1631 opustit Francii kv\u016fli \u00fa\u010dasti na spiknut\u00ed proti mocn\u00e9mu kardin\u00e1lovi Richelieuovi, ale stala se pozoruhodn\u00fdm objektem mal\u00ed\u0159ova oka i \u0161t\u011btce. <\/p>\n
Mal\u00ed\u0159 diplomatem <\/p>\n
Nest\u00e1v\u00e1 se \u010dasto, aby byl mal\u00ed\u0159 diplomatem. Rubensovi se to nejen p\u0159ihodilo, ale je\u0161t\u011b v\u00edce to pos\u00edlilo jeho mezin\u00e1rodn\u00ed presti\u017e. \u0160pan\u011bl\u0161t\u00ed Habsburkov\u00e9 ho toti\u017e pov\u011b\u0159ili \u0159adou delik\u00e1tn\u00edch diplomatick\u00fdch mis\u00ed. Rubens se m\u011bl obecn\u011b zasadit o sbl\u00ed\u017een\u00ed \u0160pan\u011blska s Angli\u00ed, a to "na\u00edvzdory z\u00e1kulisn\u00edm intrik\u00e1m Francie. Musel se um\u011bt orientovat v labyrintu slo\u017eit\u00fdch vztah\u016f Nizozemska, kter\u00e9 p\u0159e\u0161lo ji\u017e roku 1477 s\u0148atkem Marie Burgundsk\u00e9 s Maxmili\u00e1nem Habsbursk\u00fdm do rukou Habsburk\u016f a kter\u00e9 zd\u011bdil Karel V. (c\u00edsa\u0159 a \u0161pan\u011blsk\u00fd kr\u00e1l) a u\u010dinil z n\u011bho faktickou z\u00e1kladnu \u0161pan\u011blsk\u00e9 moci. Posl\u00e9ze se severn\u00ed provincie vzbou\u0159ily proti Madridu a vyhl\u00e1sily Spojen\u00e9 provincie nizozemsk\u00e9 (Holandsko), zat\u00edmco ji\u017en\u00ed (vl\u00e1msk\u00e9) se pod\u0159\u00eddily \u0160pa-n\u011bl\u016fm. Rubensova diplomatick\u00e1 aktivita byla zvl\u00e1\u0161t\u011b intenzivn\u00ed v letech 1627 a\u017e 1630, kdy se pohyboval mezi Madridem a Lond\u00fdnem ve snaze p\u0159i\u0161t k uzav\u0159en\u00ed m\u00edrov\u00e9 dohody mezi \u0161pan\u011bl-_^\/m\u00a0\u00a0 Nizozemskem\u00a0\u00a0 a\u00a0\u00a0 Spojen\u00fdmi\u00a0\u00a0 provinciemi nizozemsk\u00fdmi. Av\u0161ak nem\u011bl to tehdy nijak lehk\u00e9, v\u017edy\u0165 to bylo zrovna v dob\u011b, kdy pochoval svoji \u017eenu Isabelu, se kterou m\u011bl t\u0159i d\u011bti. A\u010dkoli na n\u011bho profesion\u00e1ln\u00ed diplomat\u00e9 mnohdy rozpa\u010dit\u011b hled\u011bli sp\u00ed\u0161e jako na \u00bbcosi exotick\u00e9ho", proto\u017ee nebylo zvykem, aby kum\u0161t\u00fd\u0159i jednali o vysok\u00e9 politice, p\u0159esto b\u00fdval v\u0161ude p\u0159ij\u00edm\u00e1n s velkou \u00factou. Na tomto m\u00edst\u011b nutno zd\u016fraznit, \u017ee si jeho posl\u00e1n\u00ed v\u00e1\u017eili i samotn\u00ed panovn\u00edci. Nejl\u00e9pe to dokazuje skute\u010dnost, \u017ee kdy\u017e i jeho p\u0159i\u010din\u011bn\u00edm byla 15. listopadu 1630 podeps\u00e1na m\u00edrov\u00e1 smlouva mezi Angli\u00ed a \u0160pan\u011blskem, byl anglick\u00fdm kr\u00e1lem Karlem l. pasov\u00e1n na ryt\u00ed\u0159e a bohat\u00e9 obdarov\u00e1n. Stejn\u00e9 pocty se mu dostalo i od \u0161pan\u011blsk\u00e9ho kr\u00e1le Filipa IV. <\/p>\n
Posledn\u00ed dek\u00e1da <\/p>\n
Rubens str\u00e1vil posledn\u00edch deset let sv\u00e9ho plodn\u00e9ho \u017eivota v Antverp\u00e1ch a jejich okol\u00ed. M\u011bl st\u00e1le hodn\u011b zak\u00e1zek. <\/p>\n
Mezi nejv\u00fdznamn\u011bj\u0161\u00ed jist\u011b pat\u0159ila stropn\u00ed malba v hodovn\u00ed s\u00edni pal\u00e1ce Whitehall, co\u017e byla od roku 1530 a\u017e do po\u017e\u00e1ru v roce 1698 hlavn\u00ed rezidence anglick\u00fdch monarch\u016f v Lond\u00fdn\u011b. V roce 1630, \u010dty\u0159i roky po smrti prvn\u00ed man\u017eelky, se 53let\u00fd mal\u00ed\u0159 rozhodl znovu o\u017eenit. Jeho druhou \u017eenou se stala 16let\u00e1 Helena Fourmentov\u00e1. Av\u0161ak pomlou-va\u010dn\u00fdm klevetn\u00edk\u016fm a hlavn\u011b klevetnic\u00edm z\u00e1hy spadl h\u0159eb\u00ednek, proto\u017ee Helena mu dala nejen dal\u0161\u00edch p\u011bt d\u011bt\u00ed (nejmlad\u0161\u00ed se narodilo a\u017e osm m\u011bs\u00edc\u016f po jeho smrti), ale sv\u00fdm zjevem nesm\u00edrn\u011b obohatila samotnou jeho tvorbu. Znalci \u0159\u00edkaj\u00ed, \u017ee po svatb\u011b s touto \u017eenou z jeho obraz\u016f za\u010dala vyza\u0159oval rozn\u00e9\u017en\u011bl\u00e1 hebkost a dokonale vybrou\u0161en\u00e9 tvary \u017eensk\u00fdch t\u011bl. l nyn\u00ed Rubens potvrzoval, \u017ee hluboce emoci\u00e1ln\u00ed kompozic\u00ed a bohat\u00fdmi barvami sv\u00fdch d\u011bl, inspirovan\u00fdmi barvami ben\u00e1tsk\u00fdch mistr\u016f Tiziana a Veroneseho, je pova\u017eov\u00e1n za nejv\u011bt\u0161\u00edho barokn\u00edho mal\u00ed\u0159e na sever od Alp. V roce 1635 si koupil usedlost se z\u00e1mkem Steen, kde str\u00e1vil hodn\u011b \u010dasu, kter\u00fd samoz\u0159ejm\u011b v\u011bnoval i malov\u00e1n\u00ed. Pr\u00e1v\u011b odtud poch\u00e1zej\u00ed jeho krajin\u00e1\u0159sk\u00e9 v\u00fdjevy jako Z\u00e1mek Steen s lovcem, kter\u00fd se nach\u00e1z\u00ed v lond\u00fdnsk\u00e9 N\u00e1rodn\u00ed galerii, nebo N\u00e1vrat roln\u00edk\u016f z pole, jeho\u017e vlastn\u00edkem je Gal\u00e9rie Pitti ve Florencii. <\/p>\n
Rubens na konci \u017eivota trp\u011bl dnou. Skonal 30. kv\u011btna 1640 ve v\u011bku t\u0159ia\u0161edes\u00e1ti let. <\/p>\n
Hodnota Rubensov\u00fdch prac\u00ed ve 21. stolet\u00ed <\/p>\n
Na aukci ve zn\u00e1m\u00e9 lond\u00fdnsk\u00e9 Sothebyho s\u00edni 10. \u010dervence 2002 koupil lord Thomspon objeven\u00fd Rubens\u016fv obraz Masakr nevinn\u00fdch za 49,5 milionu liber (76,2 milionu dolar\u016f). Bylo to pova\u017eov\u00e1no za v\u016fbec nejvy\u0161\u0161\u00ed \u010d\u00e1stku, jak\u00e1 kdy byla p\u0159i aukci zaplacena za n\u011bkter\u00e9 z d\u011bl star\u00fdch mistr\u016f. V roce 2006 byla zve\u0159ejn\u011bna informace o tom, \u017ee pa\u0159\u00ed\u017esk\u00e1 Getty Collection koupila Rubens\u016fv obrazu Lov kalydonsk\u00e9ho kance z obdob\u00ed let 1611 nebo 1612 za nezve\u0159ejn\u011bnou cenu. <\/p>\n
V\u00fdb\u011br z Rubensova d\u00edla
\u2022\u00a0\u00a0\u00a0 Klan\u011bn\u00ed se t\u0159\u00ed kr\u00e1l\u016f (1603), Museo d\u00e9l Prado, Madrid
\u2022\u00a0\u00a0\u00a0 Stav\u011bn\u00ed k\u0159\u00ed\u017ee (1610-1611), katedr\u00e1la Panny Marie, Antverpy
\u2022\u00a0\u00a0\u00a0 Sn\u00edm\u00e1n\u00ed 2 k\u0159\u00ed\u017ee (1611-1614), katedr\u00e1la Panny Marie, AnWerpy
\u2022\u00a0\u00a0\u00a0 Venu\u0161e p\u0159eci zrcadlem (.1613-1615), Sammlungen d\u011bs Regiereden F\u00farsetn vo\u0148 Leichtenstein Vaduz, Lichten\u0161tejnsko
\u2022\u00a0\u00a0\u00a0 Nanebevzet\u00ed Panny Marie (1614), Mus\u00e9es rouy-aux d\u011bs Beaux-Arts de Belgique, Brusel
\u2022\u00a0\u00a0\u00a0 Velk\u00fd posledn\u00ed soud (1615-1616), Alte Pinakothek, Mnichov
\u2022\u00a0\u00a0\u00a0 Bohyn\u011b zdrav\u00ed Hyg\u00edeia (1615), Praha
\u2022\u00a0\u00a0\u00a0 Vyhn\u00e1ni z r\u00e1je (1620), N\u00e1rodn\u00ed galerie, Praha
\u2022\u00a0\u00a0\u00a0 Vylod\u011bn\u00ed Marie Medicejsk\u00e9 (1622-1625), Mus\u00e9e National du Louvre, Pa\u0159\u00ed\u017e
\u2022\u00a0\u00a0\u00a0 Zahrada l\u00e1sky (1632), Museo d\u00e9l Prado, Madrid
\u2022\u00a0\u00a0\u00a0 Krajina s duhou (1635), Alte Pinakothek, Mnichov
\u2022\u00a0\u00a0\u00a0 Ko\u017e\u00ed\u0161ek (Helen\u011b Fourmen\u00ed) (1636-1639), Kunsthistorisches Museum, V\u00edde\u0148
\u2022\u00a0\u00a0\u00a0 Venu\u0161e a Adonis (1637-1638), The Metropolitan Museum of Art, New York City
\u2022\u00a0\u00a0\u00a0 Umu\u010den\u00ed sv. Tom\u00e1\u0161e (1637-1638), N\u00e1rodn\u00ed galerie, Praha
\u2022\u00a0\u00a0\u00a0 Sv. Augustin (1637-1638), N\u00e1rodn\u00ed galerie, Praha
\u2022\u00a0\u00a0\u00a0 Wi Gr\u00e1de (1636-1638), Museo d\u00e9l Prado, Madrid
\u2022\u00a0\u00a0\u00a0 Madona se sv\u011btci (1639), kostel sv. Jakuba, Antverpy <\/p>\n
Archiv KPUFO <\/p>\n","protected":false},"excerpt":{"rendered":"
"Jsem pouze prost\u00fd mu\u017e osamocen\u00fd se sv\u00fdmi star\u00fdmi \u0161t\u011btci \u017e\u00e1daj\u00edc\u00ed Boha o inspiraciraci.\u00ab\u00a0\u00a0(Peter Paul Rubens)<\/p>\n","protected":false},"author":1,"featured_media":3,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_mi_skip_tracking":false,"_exactmetrics_sitenote_active":false,"_exactmetrics_sitenote_note":"","_exactmetrics_sitenote_category":0},"categories":[6],"tags":[339],"_links":{"self":[{"href":"http:\/\/novysmer.cz\/index.php\/wp-json\/wp\/v2\/posts\/1570"}],"collection":[{"href":"http:\/\/novysmer.cz\/index.php\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"http:\/\/novysmer.cz\/index.php\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"http:\/\/novysmer.cz\/index.php\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"http:\/\/novysmer.cz\/index.php\/wp-json\/wp\/v2\/comments?post=1570"}],"version-history":[{"count":0,"href":"http:\/\/novysmer.cz\/index.php\/wp-json\/wp\/v2\/posts\/1570\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"http:\/\/novysmer.cz\/index.php\/wp-json\/wp\/v2\/media\/3"}],"wp:attachment":[{"href":"http:\/\/novysmer.cz\/index.php\/wp-json\/wp\/v2\/media?parent=1570"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"http:\/\/novysmer.cz\/index.php\/wp-json\/wp\/v2\/categories?post=1570"},{"taxonomy":"post_tag","embeddable":true,"href":"http:\/\/novysmer.cz\/index.php\/wp-json\/wp\/v2\/tags?post=1570"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}