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New York, NY — In a letter from September 13, 1621, describing a large painting of a lion hunt that he had just completed, Peter Paul Rubens expressed what he believed to be essential to his art: it had to be powerful and graceful. A constant quest to achieve an equilibrium of these two qualities lay at the heart of his work. The same can be said of Anthony van Dyck and Jacob Jordaens, who studied with Rubens and whose lives and careers were entwined with—and influenced by—the senior artist.

A new exhibition at the Morgan Library & Museum, Power and Grace: Drawings by Rubens, Van Dyck, and Jordaens, brings together an extraordinary selection of twenty-two works on paper by these three giants of Flemish Baroque art, demonstrating the crucial role the medium of drawing played in their individual practice and highlighting their graphic styles. The show, which includes work from the Morgan’s collection supplemented with a small number of loans, will be on view from January 19 through April 29, 2018.

peter321Peter Paul Rubens (1577–1640), Seated Male Youth, ca. 1613, blackchalk, heightened with white chalk, on light gray paper, purchased by Pierpont Morgan (1837–1913) in 1909, The Morgan Library & Museum, I, 232. Photography by Steven H. Crossot, 2014.

“The Morgan is particularly well-suited to tell the fascinating story of the intersection of these three artists in works on paper,” said Colin B. Bailey, director of the Morgan Library & Museum. “Its collection of drawings by Rubens, van Dyck, and Jordaens is unparalleled in the United States. Rubens, the teacher, cast a long shadow on all who studied with him. Nevertheless, van Dyck and Jordaens, while acknowledging their debt to Rubens, would develop their own characteristic techniques and become renowned masters in their own right.”  

For additional information:

www.themorgan.org

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