Peter Paul Rubens, 1617 - Một người đàn ông đập lúa bên cạnh một toa xe, những ngôi nhà trang trại phía sau - bản in mỹ thuật

A Man Threshing Beside a Wagon, Farm Buildings Behind được tạo ra bởi nam nghệ sĩ Peter Paul Rubens in 1617. The version of the artwork was painted with the size: 25,4 x 41,4 cm. Red, black, blue, green, and yellow chalk, with touches of pen and brown ink, on pale gray paper was applied by the European painter as the medium of the artpiece. The piece of art is part of the collection of The J. Paul Getty Museum, which is part of the J. Paul Getty trust and is one of the world's largest arts organizations worldwide. It seeks to inspire curiosity about, and enjoyment and understanding of, the visual arts by collecting, conserving, exhibiting, and interpreting works of art of outstanding quality and historical importance.. With courtesy of Bảo tàng J. Paul Getty (public domain license).Creditline of the artwork: . Besides, the alignment is landscape and has a ratio of 16 : 9, which implies that the length is 78% longer than the width. Peter Paul Rubens was a male diplomat, painter from the Netherlands, whose style can be classified as Baroque. The Baroque artist was born in 1577 in Siegen, North Rhine-Westphalia, Germany and passed away at the age of 63 năm 1640 tại Antwerp, tỉnh Antwerpen, Flanders, Bỉ.

What does the website of the The J. Paul Getty Museum write about the artwork made by Peter Paul Rubens? (© - by The J. Paul Getty Museum - Bảo tàng J. Paul Getty)

While this wagon recurs in several paintings, Peter Paul Rubens may have intended this drawing as an independent work of art, rather than a study. Although its composition is simple, this humble genre scene displays Rubens's characteristic lively technique. The sharp perspective, unusual rear view, and lack of alignment between front and rear axles draw the viewer into the space. The splayed side rails and wheel spokes all thrust outward in repeating lines, charging the stationary wagon with energy. Rubens's experiments with different positions for the rustic wagon and the farmer's flail further increase the effect of motion and symmetry.

Rubens varied both his materials and his technique to give the scene immediacy and vigor. The man's red shirt adds to his sense of animation and becomes a focal point of the drawing. Subtle highlights appear in other colors of chalk: yellow inside the wagon, a bit of blue on the barn roof, and touches of brown on wagon wheels and the ground. Rubens's chalk strokes ranged from the stronger, more precise forms of the wagon, whose iron bands and nails are accented in pen and ink, to the light, rapid, strokes employed for the stable and hay.

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