AIC's 53rd Annual Meeting

Collaboration among painters was a defining feature of Flemish painting, particularly among practitioners in 17th century Antwerp. Peter Paul Rubens (1557-1640) and Frans Snijders (1579-1657) periodically worked together, producing artworks of exceptional quality, where their individual contributions were integrated yet distinct. This talk will explore the materials and techniques used in the artistic partnership of Rubens and Snijders, through the case study of a large jointly created painting Larder Still Life with Housekeeper and Young Boy (1636-1638; J. Paul Getty Museum, Los Angeles). In the Getty Larder, the still life was painted by Snijders and his studio while the figures were painted by Rubens’ studio. The talk will demonstrate how technical examination can help us understand how these two artists, each with their own distinct styles, combined their strengths to create a unified work of art.  

The Getty Larder was studied using a range of imaging and analytical techniques including: X-radiography, multispectral imaging, infrared reflectography, cross-section analysis coupled with scanning electron microscopy, spot X-ray fluorescence (XRF) spectroscopy, scanning macro XRF spectroscopy, FTIR, and chromatographic methods. These methods yielded copious information about the work’s stratigraphy and preparation. Combining this analysis with close examination of the paint surface, while referring to a preparatory oil sketch made by Rubens (Kitchen Maid, Butcher and Boy around a Table, KMSKA, Antwerp) and two other related paintings (in private collections) portraying similar yet distinct compositions, a step-by-step development of the Getty Larder could be explicated. The examination revealed that the still life was painted first followed by the figures and suggested that the two collaborators had created an efficient workflow to execute large paintings. The technical study also identified areas of pigment degradation and fading which have caused significant color shifts in the painting.   

Even with all this information, unravelling the intricacies of Rubens’ and Snijders’ partnership presented significant challenges. The scarcity of primary sources documenting collaborative processes, the lack of carbon-based underdrawings, the use of similar pigments and binding media across the picture, and the painting’s conservation history made it difficult to separate individual contributions based on material composition alone. Furthermore, characterizing collaboration is complex as Rubens oversaw a large, successful studio with many assistants and students participating in the painting process. Much less is known about other painters working in Antwerp. This talk will present new insights gleaned despite these challenges, providing important context in understanding Rubens’ and Snijders’ collaborative process. 

Undertaking the technical study and treatment of this painting, including removal of degraded natural resin and synthetic varnishes, highlighted how conservation practice in the 21st century is an equally collaborative endeavor. It involves the curator’s expertise, the conservation scientist’s analysis, and the conservator’s knowledge to bridge and synthesize art historical, material, and chemical information. It is only fitting that working with different colleagues has been crucial to generating new insights into the shared working practices of Rubens and Snijders, underscoring the power of collaboration. Artists in 17th century Flemish paintings did not operate in a vacuum and neither do 21st century conservation studios.