The Honeysuckle Bower
Peter Paul Rubens' most romantic painting
Today we take a look at “The Honeysuckle Bower” by Flemish Baroque artist Peter Paul Rubens. Rubens married Isabella Brant—a young lady of status—in 1609 and this double portrait depicts the couple, right hands entwined, sitting beneath an arbor of honeysuckle. The composition employs several allegorical tools meant to convey the love and devotion between the couple. The canvas currently resides at the Alte Pinakoteck museum in Munich.
Peter Paul Rubens’ parents were prominent residents of Antwerp and Calvinists in the mid 16th century. To avoid the Spanish retaliation on the heels of the religious conflicts between Catholics and Protestants which had embroiled the city, the family fled to Cologne. You can refresh your memory on Beeldenstorm in the Pieter Bruegel the Elder story.
In 1570 while in Cologne, Rubens’ father Jan, a lawyer and former alderman of Antwerp, was invited to attend the court of William I of Orange. There he was to act as legal advisor to the king’s wife, the very wealthy Anna of Saxony. The two began an illicit affair, the union resulting in a daughter for Anna and imprisonment for Jan. However, thanks to lobbying by his wife Maria Pypelincks, Jan was released from prison after only two years. Things worked out much less favorably for Anna, eventually dying in cruel confinement and neglect after her fortune was largely absorbed by the crown. Peter Paul was born in 1577 while his father was still under exile in Siegen and prohibited from practicing law, a restriction which impacted family finances but one that was eventually lifted upon Anna of Saxony’s death; this allowed the family to move back to Cologne and for the Rubens sons to attend schooling in classical studies and philosophy. Father Jan died in Cologne in 1587 and mother Maria moved the family back to Antwerp in 1590. It was there that Peter Paul took an apprenticeship with some of the city’s leading painters, in part to support the family finances. He completed his formal education by 1598, joined a painters’ guild, and traveled to Italy for further study in 1600.
As the well-educated son of a respected (if slightly tarnished) lineage and thanks to the incredible developing artistic talent that he continued to refine through his study of Italian masters, Peter Paul won several important commissions during his Italian sojourn. He returned to Antwerp in 1608 after hearing of his mother’s illness. Sadly Peter Paul’s mother died before he was unable complete the journey back. However, it was an auspicious time for his return: the treaty of Antwerp was signed in 1609 and with peace came new prosperity to the city. In September of that year, Rubens, by now established as a skilled professional painter (the rock stars of their time!), was appointed as court painter by Albert VII, Archduke of Austria and Infanta Isabella Clara Eugenia of Spain, sovereigns of the Low Countries. The next month, the 32-year-old Rubens wed 18-year-old Isabella Brandt, having been only recently introduced to her by his brother Philip, himself married to her aunt. By all accounts, it was a loving and tender union but sadly Isabella died at the age of 34, likely from bubonic plague. It was a loss that devastated Rubens.
“The Honeysuckle Bower” was painted on or shortly after 1609 to commemorate the marriage, eventually becoming a gift to Isabella’s father. The setting of the piece evokes the Garden of Love, found in many works of the 16th century as popularized in the first emblem book Emblematum liber. Emblem books were tomes that contained symbolic images paired with moralistic mottoes and sayings. Emblemata (as this first emblem book was also known) was published in 1531 and printed in over 100 editions around Europe; the motifs therein would have been well understood by viewers of the time. The Garden of Love symbolizes the tender, fruitful and devoted pairing between a husband and wife, a conjugal fidelity that was meant to last forever, even past mortality and unto death—a theme that is especially poignant in light of Isabella’s early demise.
Rubens painted a honeysuckle vine growing behind the couple, its branches entwining, surrounding and embracing the pair, creating a protective space meant for the two of them. The color and fragrance of this flower have an association with beauty and refinement, the buds unfurling like blossoming affection. Traditionally, honeysuckle was considered a symbol of love and sweetness, and in mythology it was deemed a lucky flower, protecting gardens from evil. The honeysuckle vine clings as it grows, just as deepening emotional entanglement would in a devoted relationship. You’ll notice a bit of sun and blue sky over Peter Paul’s shoulder while Isabella is completely ensconced, whereby the roles within the relationship are defined: those of a husband taking on duties outside of the home while the wife is focused with the affairs inside it. It’s not what we’d consider the most enlightened view on equality, but pretty standard stuff for upper-class 17th century Europeans. The difference in marital equality is further enforced through the figure of the husband being elevated through his seat on a chair, while the wife sits on the ground, or perhaps a cushion. However, Ruben’s open, unbuttoned collar is meant to show the marriage is one of intellectual equals. Isabella’s position closer to the viewer’s perspective also increases her importance in the composition and re-balances the equilibrium.
At the center of the painting and central to the theme of union, Isabella and Peter Paul clasp right hands. The joining of right hands was an long-standing symbolic gesture known by the ancient Romans as Latin as dextrarum iunctio. Similar to the modern practice of shaking hands, right hands joined in greeting or parting symbolized a contract between parties. Specifically in weddings, the hands of the betrothed were brought together at the end of the ceremony, guided by the matron of honor who symbolized Juno, to complete the union under the law. Dextrarum iunctio is a thematic device that has been used throughout documented classical history, appearing on ancient Greek coins, rings, and frequently on funerary monuments, a symbol of a connection that lasts in all of life and beyond death, a permanent bond for all eternity.
The couple are dressed lavishly, his coat with his orange silk stockings and her gown and jewels befitting a man and wife of financial means. This portrayal would be particularly important to Rubens, a social climber on the cusp of entry into the upper echelon of high society. The jeweled sword hilt upon which he rests his left hand is a notable symbol of nobility—only the elite were allowed to carry swords and Peter Paul was only afforded the privilege after being appointed court painter. Some texts suggest that the sword would have only been appropriate after Rubens’ elevation to nobility, which occurred in 1612, dating the painting a few years after the wedding. It hardly needs saying that the sword also has the cruder phallic interpretation, which naturally is theme that would underlie a sexual union. An additional joining is inferred by following the gold threads that entwine Rubens’ foot and lead to Isabella’s own personal “garden of love.” It is perhaps the reason for her slightly coquettish smile.
Isabella’s hat is a traditional Flemish straw design, indicating cultural fidelity. In her left hand is a fan, a signifier of femininity and gentility. Overall, the composition is one of balance and pleasing colors. The treatment of lighting on the two subjects is warm and even. The circular design creates intimacy in which we, the viewers are invited to share, albeit not at quite the same level of proximity as the blissfully wedded pair.
In addition to the Ruben’s double portrait, the gif today uses elements from two still life paintings: “Still Life with Flower” by Ambrosius Bosschaert the Elder and “Still Life with Sweets” by Josefa de Óbidos. Both of those paintings are below and further details can be viewed in the links that follow.
Thanks Martini. Mrs Rubens made the right choice in which gift to accept. Always a treat to get a history lesson along with the artwork. When ever I see the clothes worn at that time I wonder how did they go to the bathroom? I mean those clothes may be stylish but seem like a great impediment to relieving oneself.
So wonderful! Thank you for educating us with such care on the wide variety of your influences. Shine on, you beautiful diamond you!