The decision to present Lady Arundel not alone, but as the oversized center of an event, adds a strong dynamic to the painting. Continue reading “Sola Virtus Invicta”
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”
The defining element in the background of Rubens’ 1620 portrait of Lady Arundel are the Solomonic columns. Continue reading “On Her Way to Rome”
Lady Arundel was the first English woman to be portrayed by Rubens. The decision to depict her surrounded by her entourage on a loggia in front of an Italian landscape with Solomonic columns in the background clearly conveys the strong impression that the Catholic Englishwoman made on the Antwerp master. Continue reading “Diana in Antwerp”
In June 1620, Aletheia Howard, Countess of Arundel, traveled from London to Antwerp and met Peter Paul Rubens, who painted an impressive larger-than-life portrait of the English collector. During the portrait session, Lady Arundel had the opportunity to admire the painting of the Battle of the Amazons. Continue reading “The Battle of the Amazons”
This blog is dedicated to the extraordinary life and the times of Lady Arundel in preparation for the 400th anniversary of her death in 2054. It presents the results of a research project concluded at the University of Bern in 2017 as well as new insights and ideas for the celebration of the anniversary of the fascinating person of Lady Arundel.
Aletheia Talbot, Countess of Arundel was one of the great European collectors of the seventeenth century. The first English woman to have lived in Italy has been portrayed by the most important painters of her time. With her death in Amsterdam began the dispersion of one of the most impressive art collections of the period.