Based on the painting, maes most likely held which of the following views?
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On a crisp autumn morning, the rising sun casts a cool light on the manor house. Shadows are long and there’s a suggestion of dew on the grass of the meadows. The windows of the manor house and the stream meandering past it twinkle, and the few feathery clouds are tinged with gold. We are high up, so the view is spread before us, allowing us to pick out each incident within the whole: the man shooting partridges, the couple on their way to market and the lord and lady of the manor, the nearby nursemaid cradling their baby. Show
Peter Paul Rubens worked as a diplomat as well as an artist, and had been ennobled both in Spain by Philip IV and in England by Charles I. His status and wealth enabled him to purchase the manor of Het Steen, near Malines (now known as Mechelen), in 1635. In this landscape painting he celebrates what he treasured most: his own success, perhaps, but also the prosperity and peace of Flanders, his native land. Read Online (Free) relies on page scans, which are not currently available to screen readers. To access this article, please contact JSTOR User Support . We'll provide a PDF copy for your screen reader. With a personal account, you can read up to 100 articles each month for free. Get StartedAlready have an account? Log in Monthly Plan
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Log in through your institution journal article The Art Bulletin Vol. 53, No. 1 (Mar., 1971) , pp. 88-104 (17 pages) Published By: CAA https://doi.org/10.2307/3048801 https://www.jstor.org/stable/3048801 Read and download Log in through your school or library Alternate access options For independent researchers Read Online Read 100 articles/month free Subscribe to JPASS Unlimited reading + 10 downloads Journal Information The Art Bulletin publishes leading scholarship in the English language in all aspects of art history as practiced in the academy, museums, and other institutions. From its founding in 1913 the journal has published, through rigorous peer review, scholarly articles and critical reviews of the highest quality in all areas and periods of the history of art. Articles take a variety of methodological approaches, from the historical to the theoretical. In its mission as a journal of record, The Art Bulletin fosters an intensive engagement with intellectual developments and debates in contemporary art-historical practice. The journal, which welcomes submissions from scholars worldwide and at every career stage, is published four times a year in March, June, September, and December by the College Art Association. Publisher Information Founded in 1911, the College Art Association... Promotes excellence in scholarship and teaching in the history and criticism of the visual arts and in creativity and technical skill in the teaching and practices of art. Facilitates the exchange of ideas and information among those interested in art and history of art. Advocates comprehensive and inclusive education in the visual arts. Speaks for the membership on issues affecting the visual arts and humanities. Provides opportunities for publication of scholarship, criticism, and artists' writings. Fosters career development and professional advancement. Identifies and develops sources of funding for the practice of art and for scholarship in the arts and humanities. Honors accomplishments of artists, art historians, and critics. Articulates and affirms the highest ethical standards in the conduct of the profession. Authorization to photocopy texts for internal or personal use (beyond that permitted by sections 107 and 108 of the U.S. Copyright Law), or for one-time, limited-term nonprofit educational use in coursepacks or closed-access academic course Intranet websites, is granted by the College Art Association without charge. For other uses, please first contact the individual author and/or other rights holders to obtain written permission, then the College Art Association. Rights & Usage This item is part of a JSTOR Collection. Abstract Rubens's Michielsen Triptych draws on the Netherlandish past not simply in its format but also in its structuring of the spaces of the triptych. Like many Early Netherlandish triptychs, Rubens's work creates ambiguous relations between center and wings, establishing "miraculous thresholds" between zones that appear to be simultaneously connected and disconnected. The miraculous thresholds of Rubens's triptych negotiate relations between the donors and God and between the meanings inhering in Christ's life and metaphysical status—even as they convey Rubens's awareness of the connection between the triptych's traditions and the early modern interrogation of the spaces between art and reality. Journal Information The Art Bulletin publishes leading scholarship in the English language in all aspects of art history as practiced in the academy, museums, and other institutions. From its founding in 1913 the journal has published, through rigorous peer review, scholarly articles and critical reviews of the highest quality in all areas and periods of the history of art. Articles take a variety of methodological approaches, from the historical to the theoretical. In its mission as a journal of record, The Art Bulletin fosters an intensive engagement with intellectual developments and debates in contemporary art-historical practice. The journal, which welcomes submissions from scholars worldwide and at every career stage, is published four times a year in March, June, September, and December by the College Art Association. Publisher Information Founded in 1911, the College Art Association... Promotes excellence in scholarship and teaching in the history and criticism of the visual arts and in creativity and technical skill in the teaching and practices of art. Facilitates the exchange of ideas and information among those interested in art and history of art. Advocates comprehensive and inclusive education in the visual arts. Speaks for the membership on issues affecting the visual arts and humanities. Provides opportunities for publication of scholarship, criticism, and artists' writings. Fosters career development and professional advancement. Identifies and develops sources of funding for the practice of art and for scholarship in the arts and humanities. Honors accomplishments of artists, art historians, and critics. Articulates and affirms the highest ethical standards in the conduct of the profession. Authorization to photocopy texts for internal or personal use (beyond that permitted by sections 107 and 108 of the U.S. Copyright Law), or for one-time, limited-term nonprofit educational use in coursepacks or closed-access academic course Intranet websites, is granted by the College Art Association without charge. For other uses, please first contact the individual author and/or other rights holders to obtain written permission, then the College Art Association. Rights & Usage This item is part of a JSTOR Collection. Which of the following is the most likely explanation for Maes choice of subject matter?Which of the following is the most likely explanation for Maes's choice of subject matter? He wanted to attract the patronage of the growing Dutch urban merchant class.
Which of the following claims does de azurara make in the first paragraph regarding Henry's motives for keeping armed ships?Which of the following claims does de Azurara make in the first paragraph regarding Henry's motives for keeping armed ships? Henry kept a fleet for war against the Muslims and for exploration.
Which of the following is an accurate comparison of the two authors views of traditional authority?Which of the following is an accurate comparison of the two authors' views of traditional authority? Robespierre rejects traditional forms of authority, while Burke respects them.
Which of the following best explains why the major European sea powers vied for control over the Atlantic in the 1700s?Which of the following best explains why the major European sea powers vied for control over the Atlantic in the 1700s? European states increasingly imported luxury goods such as sugar and coffee from the Americas.
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