Nicolas Rubens, the artist's son c. late 1630s

Editor: Here we have Peter Paul Rubens' oil sketch, "Nicolas Rubens, the Artist's Son," dating from the late 1630s, housed here at the Art Institute of Chicago. The work has an immediacy, almost unfinished quality. What do you see in this piece that perhaps I am missing? Curator: Let's consider the use of chiaroscuro. Note the dramatic contrast between the illuminated face and the shadowed background and clothing. The starkness accentuates the form. Editor: Yes, the lighting really sculpts the face, doesn't it? But what about the somewhat loose brushwork in the background and the almost frantic strokes? Curator: Precisely! These energetic strokes activate the surface, directing the viewer's eye toward the focal point. The textured brushstrokes surrounding the figure generate dynamism that is so typical of Baroque. Editor: Is the hat’s form just serving as a geometric backdrop for the son’s face? Is it fair to read its dark roundness against his bright oval face? Curator: Yes, it frames the face, but its tonal darkness also heightens the luminosity of the skin. Have you also considered how Rubens used black chalk and its contributions? Editor: It lends definition where the oils would've struggled to have nuance! So the charcoal underscores how every compositional element contributes to directing the eye to Nicolas' face, regardless of style. I hadn’t considered that before, thank you. Curator: Indeed. A successful work is where form and content are in total equilibrium. This little known study gives insight to the mind of Rubens when considering formal decisions.