Netherlandish Networks

Peter Paul Rubens, Portrait of Daniel Nijs, c. 1612-15, Oil on Oak, Dayton OH, Art Institute

Another contact of Lady Arundel in Venice was the merchant and agent Daniel Nijs. Nijs was friends with Fialetti, who years before had introduced him to the author Giulio Cesare Gigli. Continue reading “Netherlandish Networks”

Tizianello’s Life of Titian


Odoardo Fialetti after Agostino Carracci after Titian, Portrait of Titian, c. 1622, Etching, 150 x 120 mm , Hamburg, Kunsthalle

As generous as she was towards Fialetti, Lady Arundel was also towards Tiziano Vecellio, known as Tizianello, the great-nephew of the great master of the same name. Lady Arundel’s agenda in Venice becomes particularly clear in this peculiar case of attraction and betrayal. Continue reading “Tizianello’s Life of Titian”

Drawing the Human Body

Odoardo Fialetti, Frontispiece of Il vero modo et ordine, Venice 1608

The multitude of Venetian works in the collection, and especially on the walls of her later estate suggest that the Countess spent considerable time looking for Venetian paintings. There is evidence that the art dealer and etcher Odoardo Fialetti was constantly at her side. Continue reading “Drawing the Human Body”

Attracting Anthony

Anthony van Dyck, The Continence of Scipio, 1620–1621, Oil on Canvas,
183 x 232 cm, Oxford, Christchurch Picture Gallery

The Countess was a passionate admirer of Italy and of Italian art. Lady Arundel’s father, Gilbert Talbot, Earl of Shrewsbury, had already visited Venice around 1570 when he, like Lady Arundel’s sons, had studied at the University of Padua. He shared his admiration for the arts with his wife Mary Cavendish. On her first trip to Italy, Lady Arundel was in regular contact with artists and art agents. During her visit to Rubens’ workshop, Lady Arundel also met his already famed colleague, Anthony van Dyck. Continue reading “Attracting Anthony”

Following Vorsterman

Lucas Vorsterman after Agnolo Bronzino (prev. Andrea del Sarto), Holy Kinship, Copperplate Etching, ca. 1622, 234 x 190 mm, London, British Museum

Antonio Vercellini’s letter about Lady Arundel’s portrait session shows that Lady Arundel not only wanted to be portrayed, but was also actively looking for new artistic talent to recruit for the English court. Continue reading “Following Vorsterman”

Blood in Barcelona

Peter Paul Rubens, Aletheia Talbot, Countess of Arundel, 1620, Oil on Canvas, 108.3 x 79.2 cm, Barcelona, Museu Nacional d’Art de Catalunya

In addition to the group portrait, in Barcelona exists a three-quarter portrait of Lady Arundel of Rubens ’hand. The look and pose are completely identical, but the quality of the representation is far higher than in the large-scale Munich portrait. Continue reading “Blood in Barcelona”