Studio of Peter Paul Rubens, 'Portrait of the Archduke Albert', about 1615
Full title | Portrait of the Archduke Albert |
---|---|
Artist | Studio of Peter Paul Rubens |
Artist dates | 1577 - 1640 |
Series | The Archduke Albert and the Infanta Isabella |
Date made | about 1615 |
Medium and support | oil on canvas |
Dimensions | 122 × 89 cm |
Acquisition credit | Bequeathed by Richard C. Jackson, 1923 |
Inventory number | NG3818 |
Location | Room 20 |
Collection | Main Collection |
Against a deep red background, the Archduke Albert of Austria turns towards us with a direct but gentle gaze. His left hand is on the pommel of his sword but his pose is relaxed and unintimidating. His right arm is turned towards us, showing off the delicate pattern of his sleeve and the lace ruffle at his wrist. Albert was part of the Habsburg family, one of the powerful reigning dynasties in Europe at the time, and some of his features are unmistakably Habsburg: long cheeks, an aquiline nose and a high brow.
Philip II of Spain appointed Albert as Governor of the Spanish Netherlands, and he took on the task of subduing the rebellious Protestants in the seven Northern Provinces. Shortly afterwards he married Isabella, Philip’s favourite daughter. The couple held joint sovereignty of the Netherlands until Albert’s death in 1621.
Against a deep red background, the Archduke Albert of Austria turns towards us with a direct but gentle gaze. His left hand is on the pommel of his sword but his pose is relaxed and unintimidating. His right arm is turned towards us, showing off the delicate pattern of his sleeve and the lace ruffle at his wrist. The sheen on the satin fabric is the brightest thing in the painting, almost detracting from his face. Albert was part of the Habsburg family, one of the powerful reigning dynasties in Europe at the time, and some of his features are unmistakably Habsburg: long cheeks, an aquiline nose and a high brow. His hair is fashionably short and his beard is close trimmed.
Round his neck is a meticulously gathered ruff trimmed with exquisite lace; on the scarlet covered table beside him is a black velvet hat embellished with black feathers. Almost entangled with the gold buttons and trimming on his open doublet is a gold chain with a gold pendant hanging from it. The tiny jewelled fleece is the emblem of the Order of the Golden Fleece, the highest order of Spanish chivalry. This was awarded to Albert in 1598 as a dowry by his uncle, King Philip II of Spain, the year before he married Isabella, Philip’s favourite daughter. This portrait is a pendant to one of his wife.
Albert was the younger son of the Holy Roman Emperor Maximilian II and had been educated at the court of his uncle for a career in the Roman Catholic Church. He was appointed archbishop and cardinal of Toledo in Spain but served Philip as a soldier and diplomat as well. He was made Governor of the Netherlands in 1595, after the death of his brother Ernst, the previous governor. This meant that Albert took on the task of subduing the rebellious Protestants in the Northern Provinces; the Southern Provinces (Flanders) were Roman Catholic. Philip insisted that Albert gave up holy orders and, with reluctance, Albert obtained papal dispensation as well as permission to marry Isabella. Despite his reluctance, the marriage was a happy one and he and Isabella held joint sovereignty of the Netherlands until Albert’s death in 1621.
The couple shared an interest in the promotion of the arts, and Rubens was invited to become one of three court painters, with Jan Breughel and Otto van Veen. Rubens was given permission to live in Antwerp rather than at court in Brussels, but even so, he became a part of the close court circle. Albert was particularly fond of Rubens, who named his first-born son after him.
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The Archduke Albert and the Infanta Isabella
These two portraits were made as pendants, or companion pieces, and would have hung side by side. They show the Archduke Albert of Austria and the Infanta (or Princess) Isabella, joint sovereigns of the Seventeen Provinces of the Spanish Netherlands. The position was granted to them by Isabella’s father, Philip II of Spain, on their marriage in 1599.
The Southern Provinces (Flanders) were, like Spain, Roman Catholic, but the Northern Provinces were predominantly Protestant and had fought hard for independence. Albert and Isabella were, in effect, rulers of Flanders only, but they had a strong sense of duty to the people as well as to the Spanish crown, and set out to create a sense of national identity. They were patrons of the arts and made Rubens court painter.
The portraits are likely to be studio copies rather than by Rubens himself. They were possibly made after two originals which are now lost but which are known through prints made after them.
The two portraits were made as pendants, or companion pieces, and would have hung side by side. The two figures are turned towards each other in the accepted tradition of pictures of betrothed or married couples, and they look out at us, as if we are witnesses of their union. They are the Archduke Albert of Austria and the Infanta (or Princess) Isabella, joint sovereigns of the Seventeen Provinces of the Spanish Netherlands. Sovereignty was granted to them by Isabella’s father, Philip II of Spain, on their marriage in 1599.
This was a tempestuous time in the history of the Netherlands, which had been ruled by Spain for generations. The Southern Provinces (Flanders) were, like Spain, Roman Catholic, but the Northern Provinces were predominantly Protestant and had fought hard for independence. Albert and Isabella were, in effect, rulers of Flanders only. While their predecessors had determined to Hispanicise Flanders with violent episodes of bitter warfare, Albert and Isabella had a strong sense of duty to the people as well as to the Spanish crown. They set out to create a sense of national identity – Roman Catholic, but with an independent character within the Spanish Imperial domains. They were the most benevolent of the long line of Habsburg incumbents and there was a lull in the worst of the violence. The prosperity this brought was recognised by the population, including Rubens, whose order book for portraits became quickly filled.
The couple were both patrons of the arts, and they influenced taste in painting and sculpture in particular. Albert created Rubens paintre de l’hostel, or court painter, along with two others, Jan Brueghel the Elder and Otto van Veen. They and the court architect, Wenzel Coebergher, became part of Albert and Isabella’s close circle. Albert was particularly fond of Rubens, who named his firstborn son after the Archduke. After Albert’s death in 1621, Isabella became sole sovereign. As a highly educated man, diplomat and devout Catholic, Rubens remained her trusted adviser in the struggle to maintain peace between the divided provinces. Isabella died in 1633, and the brief period of peace died with her.
The paintings are unlikely to be by Rubens’s own hand, but are studio copies. They were possibly made after two originals which are now lost but which are known through prints made after them. Two other portraits of Albert and Isabella that are definitely by Rubens were in his studio after his death and are now in the Kunsthistorisches Museum, Vienna.