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his face. This would account for the impossible combination of the strong lens refractions seen on his cheeks with the lack of visual distortion seen through the lenses. There is no physical evidence that the glasses were added later, but Rubens' daughter, who received the painting in 1854, wrote that they were a later addition.
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Rubens is both wearing and holding glasses. In this era, portraits subjects rarely wore glasses. The art historian Billie
Follensbee suggests that Peale sat for the portrait holding his glasses in his hand, with Rembrandt Peale returning to the canvas later and overpainting another pair of glasses on
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The
National Gallery suggests that the work is almost a double portrait of Rubens and the geranium, which may be the first specimen of the plant grown in the US. Stylistic aspects of the plant can be seen in the young man's posture and clothing. The "V" shape of Rubens' lapels and shirt is echoed in
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pot, which takes up so much space in the composition as to compete for attention with the ostensible subject, Rubens. This is a departure from traditional
European portraiture, and valued for its "embodiment of an ideal in American art that favors candor over pretension, clarity over complexity, and
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the rising stalks of the geranium, and similarly the locks of hair on his forehead are echoed by the curves of the leftmost stalks. As two of his fingers rest on the lip of the pot, the two pointed fronds at the top of the plant are close to his hair.
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The painting was acquired by his relative James
Claypoole Copper, who later gave it to Rubens' daughter Mary Jane Peale (1827–1902), and the painting descended through the Peale family. It was sold to the art collector
151:. In 1985 it was sold at Sotheby's to the National Gallery of Art, which paid $ 3.7 million (before buyer's premium). This set a record for an American work of art sold at auction, replacing
99:, who helped run the family museums and raised plants and animals. It is an early painting by Rembrandt Peale, painted when he was 23 and Rubens was 17. It is signed "Rem Peale 1801". The
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The portrait is informal and reveals Rubens' sensitive nature. He has an unstudied posture, and he is accompanied by a
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describes it as "among the finest portraits in the history of
American art".
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Follensbee BJ (1997). "Rubens Peale's spectacles: an optical illusion?".
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358:. National Gallery of Art/Oxford University Press. pp. 48–57.
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71.4 cm × 61 cm (28.1 in × 24.0 in)
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The Body of
Raphaelle Peale: Still Life and Selfhood, 1812–1824
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American
Paintings of the Nineteenth Century, Part II
320:: A Possible Source in David Teniers the Younger".
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316:Soltis, Carol Eaton (2002). "Rembrandt Peale's
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165:References
123:terracotta
115:(possibly
66:Dimensions
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107:Analysis
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