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03546aam a2200457 i 4500 001 7D80D3C6DDAE11EDB031D5162DECA4DB 003 SILO 005 20230418010100 008 230130s2022 enka b 001 0 eng d 020 $a 1912554852 020 $a 9781912554850 020 $a 1912554844 020 $a 9781912554843 020 $a 1912554860 020 $a 9781912554867 035 $a (OCoLC)1366277351 040 $a OHX $b eng $e rda $c OHX $d RCE $d NLRIJ $d HTV $d QGK $d QGJ $d UMC $d NUI $d SILO 050 4 $a ND673.R9 $b C63 v.11 pt.2 072 7 $a ND $2 lcco 100 1 $a McGrath, Elizabeth, $e editor. $e editor. 240 10 $a Mythological subjects 245 10 $a Rubens : $b mythological subjects. $p Hercules to Olympus / $c by Elizabeth McGrath, Bert Schepers, Nils Büttner, Gregory Martin, Jeremy Wood, Eveliina Juntunen, Gerlinde Gruber and Fiona Healy ; edited by Elizabeth McGrath, Bert Schepers and Brecht Vanoppen. 246 30 $a Hercules to Olympus 264 1 $a London ; Turnhout : $b Harvey Miller Publishers, $c [2022] 300 $a 2 volumes (552, 393 pages) : $b illustrations (some color) ; $c 27 cm. 490 1 $a Corpus Rubenianum Ludwig Burchard ; $v Part XI (2) 504 $a Includes bibliographical references (volume 2, pages 205-289) and indexes. 505 00 $g Volume two. $t Illustrations. $g Volume two. $t Illustrations. 520 3 $a "One remarkable feature of European culture as it developed in the Renaissance was the accommodation it made with ancient paganism. The classical gods and their legends were allegorised, transformed into symbolic figures or emblematic scenes that might accord with Christian morality. At the same time a secular space was created in art for the depiction of the most popular myths, above all the love stories recounted by the ancient poets. These stories were not only attractive in themselves; they offered the opportunity to depict nude figures in narrative action, which the example of antiquity held forth as the highest goal for painting. Rubens was one of the greatest creators of classical allegory; he was also a supreme interpreter of the classical stories. No painter was so at home in the literature of the Greeks and Romans. When he painted for pleasure, which, increasingly in the course of his life, he felt able to do, he used pagan myth to express and celebrate themes of love, beauty and the creative forces of nature, often in wonderfully idiosyncratic ways. At the same time, as a Christian committed to the ideals of the Catholic Reformation, Rubens respected the restrictions generally placed on the depiction of pagan tales. Most of his mythological paintings were made for private settings, for display within houses (including his own) or in the galleries of princes, noblemen and prelates. It is happy accident of history that these splendid paintings are now widely visible in the great museums of the world."--Front flap of dust jacket. 600 10 $a Rubens, Peter Paul, $d 1577-1640 $v Catalogs. 650 0 $a Mythology, Classical, in art $v Catalogs. 700 1 $a McGrath, Elizabeth, $e editor. $e editor. $4 edt $4 edt 700 1 $a Schepers, Bert, $e author. $e author. $4 edt $4 edt 700 1 $a Vanoppen, Brecht, $e editor. $4 edt 773 18 $w 990008960890202771 $g no:31858072866688 773 18 $w 990008960890202771 $g no:31858072866696 830 0 $a Corpus Rubenianum Ludwig Burchard ; $v pt. 11, 2. 941 $a 2 952 $l OVUX522 $d 20231117012442.0 952 $l USUX851 $d 20231103013011.0 956 $a http://locator.silo.lib.ia.us/search.cgi?index_0=id&term_0=7D80D3C6DDAE11EDB031D5162DECA4DBInitiate Another SILO Locator Search