In the history books his government (1621-1665) is quickly ticked off. Grandson of Emperor Charles V, his father left to him “the Government finances in immense disorder” (Meyer), the latter himself had started with a paternal debt burden of 150 million ducats, heaped up by the history-dominating Philip II, not least for his Armada against the English, on its departure throwing everything hitherto into the shade, while its no less immense failure – “The Lord Almighty blew, And the Armada flew to all winds” (Schiller) – found its resounding eyes-delighting echo in the North-Netherlandish marine painting of the time, in that region thus which for Spain was another bottomless ducats pit and strongly contributed to the political out of the country. So Philip IV emulated the father and quickly left the unpleasant daily business to the less high-bred. To dedicate himself to that
that only makes life real life – the arts .
And in this regard found the accomplishment of his desires, the comfort of his soul, the infinite joy and delight, in short, the satisfaction of the
pleasure of his eyes
whose 1628/29 stay in Madrid
solidified a connection which culminated in the 1636/38 order for 120 paintings as complete decoration of the hunting castle Torre de la Parada. “Philip IV became Rubens’ most important late patron, acquiring or commissioning works for the Alcázar, Buen Retiro (1632), and … the Torre de la Parada” (Peter C. Sutton, The Age of Rubens, 1993, p. 40). To be executed also with the participation of others, for which Rubens especially relied on the co-operation of
1579 Antwerp 1657
with whom in regard to animals and fruit he occasionally worked together for which in her definitive catalogue for Snyders (1989) Hella Robels proves 40 oils as secured.
While the summoning of colleagues for mentioned 1636/38
“ famous orders of Philipp IV of Spain ”
– for which
“ Snyders … had to deliver 60 ( sic ! ) paintings ” –
(Robels, op. cit., p. 99) was completely left to Rubens himself, the order of 1639/40 for 18 pictures for the palace in Madrid running likewise through his hands
expressly designated Snyders as co-consignee .
Measured at Rubens’ own contribution of these last years of just (!) more than 80 works (Sutton, op. cit., p. 44) in such a manner
Snyders’ enormous part and his esteem by Philipp .
A part of these untolds was destroyed by fire in 1734, but 17 of these are proven for Snyders by copies as once belonging to the “Collection King Philip IV”. And 20 further handed down in the original in the Museo del Prado as national successor of the Royal Gallery for Paintings and Sculptures with
“ one of the most important collections of paintings in the world ,
among which many first-rank works .
The best what the Spanish rulers have brought together through the centuries
is joined here ,
… of the non-Spanish (masters) esp. the old Netherlanders … ”
(Jahn, Lexikon der Kunst, 1957, p. 553).
With Philip IV as the central spiritus rector of this assembly (“was largely responsible for building up the royal collection of paintings, which later became the basis of the Prado Museum”, Columbia Encyclopedia, 6th ed., 2005).
And nowhere Snyders is more richly present .
Only with recognizable distance (14) followed by Munich and with 9 each by the Hermitage and the public collections in Antwerp and Brussels.
What all once run under Snyders’ name has today been thinned out to less than the half.
And only 1 4 ( sic ! ) of his oils
Hella Robels specially accentuates within the catalogue by own valuation!
Among them …
“ … And I also received your wonderful documents on Charles Le Brun and the other wonderful images including the three-legged deer. Wonderful. Thank you so very much! … ”
(Mrs. S. W., October 21, 2008)