Floor Anna Koeleman
Radboud University, Nijmegen, the Netherlands
Paintings of art galleries not only represent works of art, but also provide us with a visual understanding of the context in which they were once displayed. Of special interest is the art gallery of Rubens, an artist who himself owned a reputed collection of antique sculptures and paintings that are presumably depicted in the 17th-century painting The Studio of Rubens. But is it indeed Rubens' studio that is represented? In this paper, the diverse will be examined aspects of the painting — such as the represented works of art, the staffage, and the provenance — as well as the placement of The Studio of Rubens within the tradition of depicting art galleries in 17th -century Antwerp.
Consequently, some elements from the art gallery of Rubens may be recognised, while in other respects significant deviations come to the fore. It thus seems most likely that Rubens' art gallery merely inspired The Studio of Rubens. In order to be associated with Rubens, a great Flemish master, the painting was conceived by the artist (probably Cornelis de Baellieur) or a commissioner (perhaps an ancestor of Louis Antoine de Cambray-Digny). As a result, the study of The Studio of Rubens draws connections between creators, patrons, dealers, and connoisseurs — of art.