Creamy putty, full of female nudes, mythological themes – so many come to mind about the painting of Rubens. Of course, we receive a lot of them, but now a much more complete picture of the Flemish genius, as well as Van Dyck and others at the Museum of Fine Arts is opening.

Open until mid-February Rubens, Van Dyck and the flourishing of Flemish painting One hundred and twenty works (including 30 Rubens, 18 paintings by Van Dyck) were borrowed by forty large public collections, including the Louvre, Hermitage, Prado, National Galleries of Washington and London and Liechtenstein, the Capital of Hungary. The head of the latter recently stated – according to László Baán – that there are no three museums in Europe today that could gather such a large exhibition.

We do not know this, but it is certain that during the opening of the exhibition – with total insurance of EUR 345 million – visitors will be able to really get to know the golden age of Flemish painting, its predecessors, its historical, social and political background and its impact on art history.

The curator of the exhibition, Júlia Tátrai, stressed several times during a press briefing that they would like to oppose the stereotype that Rubens was "only a painter of large, naked women." A well-educated, adventurous artist who was a legend in his time and who, not only as a painter but also as a diplomat, had access to many royal courts, was diverse in his art: equally brilliantly illustrated mythological moments, stories of biblical portraits rulers.

All right, we can see the rubens above (which even censored Facebook) at the Fine Arts Exhibition, but why would that be bad? However, we had to be a bit disappointed in thinking about the enviable life of painters: we learned that Rubens did not model these characteristic female characters, but painted them mainly in ancient paintings. In addition, Julia Tatras clearly stated that she was known Zsuzsanna and the elders her central female figure is based on an ancient Greek male figure.

Of course, Rubens and his student Van Dyck are a "continuous name", probably thanks to them the audience will go to Fine Arts for cheap tickets (3800 USD), but more interestingly, the exhibition presents the predecessors of the Flemish painting era, Italian artistic connections and the age at which they were born all these images.

Let's say we're impressed Before finding Romulus and Remus, learn the art history class you've learned somewhere Zsuzsanna and the elderset or Satir and a young girl with a fruit basket(and learn how satire Khal Drogó, leader of the Dothraki people in the battle for the throne), but the picture of Theodoor Rombouts of a modern dentist, in which a terrifying figure pulls a patient's tooth by a man with a necklace made of teeth. It almost hurts us.

Julia Tatras also said that some paintings correspond to "press photos" of those times, because they show – often with historical loyalty – the famous events of the city, the rulers of the time, as well as the daily lives of ordinary people. Other paintings introduce me to the world of mythology – in those days it was considered to be the pinnacle of art, if someone is to record a permanent subject on this subject. Again, other works are devoted to religious piety or, on the contrary, represent hedonistic hoax.

We also learn that it was good practice at that time to share the image by several artists. For example, one painted a portrait, the other painted a background, the third painted animals, etc. There is no certainty that these artists lived in the city: it is as if someone started painting in Brussels, and then went to Venice so that someone else finished the third in Antwerp. The exhibition also includes many such paintings, from the Rubens-Van Dyck duo to works jointly recorded by various schools.

The real curiosity of the exhibition is a piece of a special giant tapestry series (Decius Mus) woven in gold and silver by Rubens (Revelation) and the presentation of a giant image that served as a cardboard box. In this room you will learn the upholstery art that Rubens has renovated and the creation process, from oil sketch to upholstery. In addition to the presented photos, 21st century techniques also help in this: as in many other rooms, you can delve into the topic on smart screens.

The 21st century also appears in the central hall where we can meet a contemporary artist. Balazs Kicsiny, an internationally renowned Hungarian artist, was asked to perform a site-specific work that forms an integral part of the exhibition, reflecting the 17th-century theme from a contemporary perspective. Rubens regularly quoted memories of antiquity and Renaissance, "cut out" them from the original code and put them in a new context in the photo. Balázs Kicsiny acted similarly The best cut in the kingdom of images Rubens used two paintings by Senec Rubens for his special work.

The exhibition organizers are also proud of the fact that many of the works of the Museum of Fine Arts have been on display. The portrait section of the exhibition, which, incidentally, delights the viewer with a series of portraits painted by Van Dyck, presents a new, famous museum collection, recently purchased for $ 2.1 billion Portrait of Princess Henrietta Stuart too. (But other images and graphics are not only temporarily in Budapest).

Rubens, Van Dyck and the flourishing of Flemish painting By the way, the exhibition is the fifth stop in the Museum of Fine Arts series presenting significant periods of art history and outstanding national painting schools. For the first time, in 2005, visitors could see centuries-old exhibitions of Spanish painting, and the last exhibition, which attracted almost a quarter of a million visitors to the renovation works of the museum, presented the Dutch "Golden Century", unique paintings,

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It's hard to start with so much nudity.


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Cult

László Baán, director general of the museum, revealed what exhibitions can be expected over the next few years at the renovated Museum of Fine Arts. At the same time, Baan is waiting for comprehensive government measures that can ultimately regulate the wages of cultural workers.

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