Making Discoveries: Rubens' Ghost
'Rubens' Ghost' forms part of 'Making Discoveries', a series of in-focus displays showcasing four major artists from the Gallery’s collection: Van Dyck, Dou, Rubens and Rembrandt.
ReadRubens' Ghost
The focus of 'Rubens’ Ghost' is a full-scale X-ray of the Gallery’s painting 'Venus, Mars and Cupid'.Through the X-ray we are able to see changes made by the artist during the course of painting, gaining a better understanding of his creative process and working methods. This iPad exhibit explores the X-ray in greater detail and also presents technical research for Rubens' paintings 'The Miracles of the Blessed Ignatius of Loyola' and 'Hagar in the Desert'.
X-ray of Peter Paul Rubens, 'Venus, Mars and Cupid' (DPG285)Dulwich Picture Gallery
X-rays can pass through most solid objects but are obstructed by certain materials, such as lead-based pigments. This means that earlier changes made by Rubens using lead white paint become visible.
During the course of painting, Rubens changed the position of Venus's head.
At one stage, Cupid’s left leg was bent so that his foot rested behind Venus’s knee.
Venus’s left leg originally stretched out from the knee towards the right of the picture.
Studio of Peter Paul Rubens, Venus, Mars and Cupid, 1630–40. Black chalk, 26.4 × 17.9 cm. Kunsthalle, HamburgDulwich Picture Gallery
Some of the changes in the X-ray are illustrated in a drawing by a pupil in Rubens’ studio, which shows the work at an earlier stage.
Detail of Peter Paul Rubens, 'The Miracles of the Blessed Ignatius of Loyola' (DPG148)Dulwich Picture Gallery
Peter Paul Rubens,'The Miracles of the Blessed Ignatius of Loyola', c. 1619. The work is a preparatory sketch for an altarpiece in the Jesuit church of SS Ambrogio and Andrea in Genoa.
X-Ray of Peter Paul Rubens, 'The Miracles of the Blessed Ignatius of Loyola' (DPG148)Dulwich Picture Gallery
When rotated 180°, the X-Ray reveals hidden figures not present in the finished piece.
Ignatius DPG148Dulwich Picture Gallery
Highlighted here are a bearded man, viewed from behind, and a hooded figure with hands clasped together in prayer, and another hooded figure in the corner. These may be composition ideas for another altarpiece.
Peter Paul Rubens, 'The Circumcision of Christ', SS Ambrogio and Andrea, GenoaDulwich Picture Gallery
These may be compositional ideas for the adoring figures that appear in Rubens’ 'Circumcision of Christ' commissioned for the same church.
Hagar in the Desert (After 1630) by Rubens, Sir Peter PaulDulwich Picture Gallery
Peter Paul Rubens, 'Hagar in the Desert', 1630s.
IR of Peter Paul Rubens, 'Hagar in the Desert' (DPG131)Dulwich Picture Gallery
Infrared radiation (IR) is used to ‘see through’ paint layers. It passes through paint until it reaches something that absorbs it. Carbon black is very absorbent of infrared radiation. Therefore, an underdrawing made with carbon black becomes visible with IR.
IR of Peter Paul Rubens, 'Hagar in the Desert' (DPG131)Dulwich Picture Gallery
The IR reveals underdrawing for the wing of an angel above Hagar's head and the baby Ishmael at the foot of the tree on the left. Both were painted out at a later date.
Frans de Roy, after Peter Paul Rubens, Hagar in the Wilderness, c. 1758. Etching. Royal Library of Belgium, BrusselsDulwich Picture Gallery
This print by Frans de Roy gives an indication of how the painting might have looked, with both angel and baby.
Map of Rubens' Ghost exhibitsDulwich Picture Gallery
This map shows where to find Rubens' works at Dulwich Picture Gallery.
Making Discoveries is supported by The Elizabeth Cayzer Charitable Trust and the Samuel H. Kress Foundation.
