Zitate von Peter Paul Rubens

In a letter to Pierre Dupuy, 7 June 1627; as quoted by Simon Schrama, in Rembrandt's eyes, Alfred A. Knopf - Borzoi Books, New York 1999, p. 244
1625 - 1640

Quote in a letter to his friend Peiresc, 18 Dec. 1634; as cited by Simon Schrama, in Rembrandt's eyes, Alfred A. Knopf - Borzoi Books, New York 1999, p. 402
1625 - 1640

Rubens is describing his painting 'The Horrors of War' https://upload.wikimedia.org/wikipedia/commons/a/a7/Rubens_-_The_Consequences_of_War.jpg 1637
In a letter to Justus Sustermans, c. 1637 (Rubens' agent at the Medici court in Florence); as quoted in Rembrandts Eyes', by w:Simon Schrama, Alfred A. Knopf, Borzoi Books, New York 1999, p. 180
Simon Schrama describes: The blue skies in the painting are overwhelmed by smoky darkness.. ..despite support from the usual team of putti and her own spectacularly opulent charms, Venus is losing the battle for Mars's attentions to the Fury Alecto
1625 - 1640

In his letter to Count Annibale Chieppio (minister of the Duke of Mantua), February 2, 1608; as quoted in Rembrandts Eyes', by w:Simon Schrama, Alfred A. Knopf, Borzoi Books, New York 1999, p. 131 (LPPR, 42)
w:Simon Schrama quotes this remark as a proof of Rubens as a sales-man who want to sell the altar-piece to the Duke of Mantua, who (as he wrote optimistically to Chieppio), had expressed an interest in having one of his paintings in his gallery. That's why Rubens emphasized the 'rich dress' of the figures
1605 - 1625

In a letter to his friend Peiresc, Dec. 1634 - LPPR, 393; as quoted by Simon Schrama, in Rembrandt's eyes, Alfred A. Knopf - Borzoi Books, New York 1999, p. 403
At a speed which was daunting even for someone of his facility, Rubens was asked to supply the designs for four stages and five triumphal arches in the city Antwerp. Though he could rely on his scholarly friends for help with the allegorical program and his workshop for assistance in fabricating them, he still became 'overburdened' with the work
1625 - 1640

In a letter to his friend Peiresc, May 1635, as quoted in 'La casa di Pietro Paolo Rubens a Roma', L'Opinione 245, 6 September, 1887
1625 - 1640

In a letter to his friend Peiresc, c. 1635; as quoted in Rubens and the Roman Circle, Huemer, p. 44
his second wife was Helena Fourment, the daughter of a silk merchant, Daniel Fourment; when Rubens married her in 1630 she was just
1625 - 1640

In a letter to Francois Duquesnoy, 1639-1640 ; as quoted in Rembrandts Eyes', by w:Simon Schrama, Alfred A. Knopf, Borzoi Books, New York 1999, p. 180
The sculptor Francois Duquesnoy, then living drawing heightened with in Rome, had sent him models of work done for a tomb monument, Windsor Castle, Rubens praised them with his usual expansive generosity. Rubens had begun to resign himself to his end, but could write still some letters
1625 - 1640

Quote of Rubens, in his letter to Count Annibale Chieppio (minister of the Duke of Mantua), February 2, 1608; as cited in Rembrandts Eyes', by w:Simon Schrama, Alfred A. Knopf, Borzoi Books, New York 1999, p. 130 (LPPR, 42)
Rubens reports in this quote about the overdoses of light, falling upon his recently-made altar-painting 'Virgin and Child Adored by Angels', (Rome, Santa Maria, Vallicella), 1607 which is fading the colors for the viewer.
1605 - 1625

In his letter to Dr. Johannes Faber, 10 April 1609; in De Zuidnederlandse immigratie, 1572-1630, J. Briels, Haarlem, 1978, p. 43-44.
one of Rubens' good former companions during his stay in Rome c. 1604-1607 was Dr. Johannes Faber, the 'Aesculapius', who had cured his pleurisy then
1605 - 1625

Quote of Rubens in a letter to Pieter van Veen, 19 June 1622, as cited
1605 - 1625
Quelle: http://remdoc.huygens.knaw.nl/#/document/remdoc/e12885

In a letter of 28 April, 1618, to the collector Sir Dudley Carleton; transl. from Italian, R. Saunders Magurn, The letters of Peter Paul Rubens, Cambridge Mass., 1955, p.60-61
Rubens is indicating in this letter to a good client the level of his personal involvement in several paintings which were offered then for sale. Rubens is specifying his involvement in a variety of degrees, in relation to the attribution by pupils or by other fellow-artists - like his cooperation in many paintings with Breughel, for instance
1605 - 1625

In a letter to Pierre Dupuy, Sept. / Oct. 1627; as quoted by Simon Schrama, in Rembrandt's eyes, Alfred A. Knopf - Borzoi Books, New York 1999, p. 248
1625 - 1640