Rubens and the Eloquence of Drawing

This book demonstrates the roles that Senecan eclecticism and a classicizing approach to emulation played in Rubens's joining of form to matter in his formative drawings practice, and arguably in his early ambitions to strengthen art for a new and troubled age.

Catherine Lusheck (PhD, UC Berkeley), is Associate Professor of Art History at the University of San Francisco. Her research interests include Rubens drawings, and early modern humanism, style, and visual rhetoric. Her publications include "Content in Form: Rubens's Kneeling Man and the Graphic Reformation of the Ideal, Robust Male Nude," Jaarboek Koninklijk Museum voor Schone Kunsten Antwerpen (2000), and a forthcoming essay, "Leonardo's Brambles and their Afterlife in Rubens's Studies of Nature."

List of Illustrations Acknowledgements Prologue: Rubens's Early Drawings and the Problem of Eclecticism PART I: DRAWING IN CONTEXT Chapter 1 - Setting the Stage: Privileging Eloquent Disegno in Rubens's Early Drawings Chapter 2 - Style and Eloquence in Rubens's Milieu PART II: CASE STUDIES IN GRAPHIC ELOQUENCE Chapter 3 - The Getty Medea and Rubens's Making of a Modern Senecan Grande Âme Chapter 4 - Figuring Eloquence: The Kneeling Man and Rubens's Construction of the Robust Male Nude Bibliography Index of Works Index