RT Article
T1 Rubens's Dying Seneca and Masculinity
JF The sixteenth century journal
VO 49
IS 3
SP 663
OP 690
A1 Hults, Linda C.
LA English
YR 2018
UL https://ixtheo.de/Record/1667522035
AB This essay reconstructs the reception of Rubens's moving painting of Seneca's death (ca. 1615, Alte Pinakothek, Munich), based on Tacitus's narrative in the Annals, by men who were its likely target audience: educated professionals influenced by Neostoicism and Justus Lipsius's works. Although both art historians and classicists have discussed this work for its illumination of Rubens's context and the early modern reception of Seneca and Tacitus, its gendered aspects invite more scrutiny. Drawing from feminist theory, masculinity studies, and gender-focused scholarship on both ancient Rome and early modern Europe, this study suggests how Rubens's painting inspired a male audience aspiring to autonomy and transcendence, while implicitly excluding women from those possibilities. Thus, the early modern affinity with the Roman world, exemplified brilliantly by Rubens as a humanist and artist, and particularly evident in The Dying Seneca, carried with it the continuation of Roman attitudes toward gender.
K1 Feminist Theory
K1 LIPSIUS, Justus, 1547-1606
K1 MASCULINITY in art
K1 NEO-Stoicism
K1 RUBENS, Peter Paul, Sir, 1577-1640
K1 SENECA, Lucius Annaeus, ca. 4 B.C.-65 A.D
K1 TACITUS, Cornelius, 56-117
K1 Transcendence (Philosophy)