41st Event Flamenco Painting Research Center within its Scripta Selecta collection. The book, which has been in bookstores since September 1, collects the studies published by the art historian on the painter Pedro Pablo Rubensover a wide temporal arc that spans from 1964 to 2019.
This monograph shows the sustained interest of the scholar, a pioneer in works on Flemish painting in Spain, in the figure of what was probably the most recognized artist of the century XVII in Europe.
In addition, it makes available to the reader a scattered scientific production that, created over more than fifty years, now takes the form of a monograph to facilitate its consultation.
Just as Titian had done in the previous century, Rubens marked the artistic development of the vast monarchy of Spain and its areas of influence during the seventeenth century.
A diplomat and painter who was able to act as a melting pot between his training within Antwerp’s late Mannerism, the richness of Venetian color and dynamism, and the most innovative proposals of Roman figurative culture from around 1600, was undoubtedly destined for the success.
His unquestionable technical perfection, an easily recognizable exuberant and dynamic style, and his naturalism and abilities to capture human psychology, made Rubens the most complete artist of the sixteenth century.
Not only did he triumph as a painter of altars in Rome or Antwerp and the creator of fabulous mythological poetry for Philip IV, but he also became, together with his disciple Van Dyck, in the most sought-after portraitist on the continent.
Few times throughout history have there been such a high level of refinement and seduction as that achieved by flamenco in portraits of Genoese nobility at the beginning of the century.
Here as in other publications, the author dazzles with his complete mastery of sources, both literary and iconic, which allows him to link the pictorial work with previous or contemporary pieces, to reconstruct the origin, dating and historical evolution of each painting or to delineate the Rubens, Wildens, Brueghel or Snyders hands in a masterful way.
This is the same line that Díaz Padrón maintains in other studies such as the enlightening one on the Immaculate Conception of the Prado published in 1967. Here,