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      Saturn

      Artus Quellinus III (1653-1686) was a Flemish sculptor active in London, known for Baroque altarpieces & portrait busts. Collaborated with Grinling Gibbons. Explore his statues of royalty and significant historical figures.

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      Saturn is portrayed as an elderly man holding a child up to his mouth. In his other hand is a sickle. At his feet are ears of corn, a scythe, an hour glass and the head of Janus. Various fruits, pulses, roots and vegetables hang from the garlands alongside the relief.Additional information:Saturn is the god of agriculture and of time. The sickle, scythe, grain, vegetables and fruit all represent agriculture, while the hour glass symbolises time. The head of Janus, with its young and old faces, symbolises the past and future, and therefore time. The child that the elderly Saturn is about to devour is an allusion to the story that Saturn consumed all his children following a prophecy that he would be destroyed by his own son. Only Jupiter escaped being eaten and he eventually slew his father.

      Korduvad küsimused

      Kui karge on teose "Saturn" väripalett?

      Teose „Saturn“, autor Artus I Quellinus värvitoit on Muted kütkusega.

      Kust saan näha teose "Saturn" eelvaadet?

      Teose „Saturn“, autor Artus I Quellinus eelvaade on saadaval teose Eelvaade lehel.

      Kas teosele „Saturn“, autor Artus I Quellinus on saadaval diapositatsioon?

      Teost „Saturn“, autor Artus I Quellinus saab vaadata diapositena teose Pildikava lehel.


      Kunstniku elulugu

      The Silent Master of the Baroque: The Life and Legacy of Artus Quellinus III

      In the grand, sweeping tapestry of the seventeenth-century Baroque movement, certain names shine with a blinding brilliance, while others linger in the shadows, their contributions felt through the profound impact they left on the masters who followed. Artus Quellinus III, often known in the English-speaking world as Arnold Quellin, belongs to that evocative category of artists whose presence is etched into the very stone and wood of history, even if his personal biography remains partially veiled by time. Born in 1653 into a prestigious Flemish lineage, Quellinus was far more than a mere craftsman; he was a vital conduit of the Antwerp sculptural tradition, bringing the dramatic intensity of the Southern Netherlands to the burgeoning artistic landscape of London.

      His early years were steeped in the rich, tactile atmosphere of his father’s workshop. As the son of Art/us Quellinus II, a sculptor of significant renown, and Anna Maria Gabron, he was raised amidst the scent of damp clay and the rhythmic sound of chisels meeting marble. This formative period in Antwerp provided him with an unparalleled education, rooted in the meticulous realism and emotional dynamism that defined the High Baroque. Through his father’s mentorship, Quellinus mastered the ability to breathe life into inanimate matter, learning how to manipulate light and shadow across a surface to evoke movement and profound human sentiment.

      A Transatlantic Artistic Journey

      The trajectory of Quellinus’s life took a transformative turn around 1680, as he followed the currents of the Flemish diaspora toward England. This migration was not merely a change in geography but a pivotal moment in the evolution of English sculpture. Upon arriving in London, Quellinus found himself part of a vibrant community of continental artists eager to redefine the aesthetic standards of the English court. It was during this period that his name became inextricably linked with one of the most celebrated figures in English art history: Grinling Gibbons.

      The collaboration between Quellinus and Gibbons remains one of the most fascinating enigmas of the Baroque era. Working in partnership on various prestigious commissions, their styles merged to create works of such exquisite detail and complexity that modern scholars often struggle to distinguish where one hand ends and the other begins. This period of intense creativity saw the production of altarpieces and portrait busts that embodied the grandeur of the age. There is a poignant scholarly theory suggesting that Quellinus’s heavy lifting in producing large-scale figurative works was so essential that his untimely death in 1686 led to a noticeable decline in the sheer sculptural scale of Gibbons's later workshop output.

      Artistic Significance and Enduring Influence

      Though his career was tragically cut short by his death in December 1686, the impact of Artus Quellinus III resonates through the halls of historical monuments. His work represents a bridge between the robust, fleshy traditions of the Flemish masters and the more refined, delicate sensibilities that would come to define English decorative arts. To examine his surviving works is to witness a masterclass in:

      • Dramatic Realism: The ability to capture the subtle textures of skin, fabric, and hair with startling accuracy.
      • Baroque Dynamism: A profound understanding of composition that utilizes swirling forms and theatrical lighting to command the viewer's attention.
      • Collaborative Excellence: The capacity to integrate his distinct Flemish training into a broader, international style that elevated the prestige of London’s artistic scene.

      Ultimately, Artus Quellinus III stands as a testament to the power of artistic lineage and the enduring strength of shared vision. While he may be remembered by some as a silent collaborator, his true legacy is found in the permanence of his art—in the silent, powerful grace of the statues and busts that continue to tell the story of an era defined by splendor, devotion, and the pursuit of perfection.

      Artus I Quellinus

      Artus I Quellinus

      1653 - 1686

      Lühikesed faktid

      • Full Name: Artus Quellinus III
      • Nationality: Flemish
      • Date Of Birth: 1653
      • Date Of Death: 1686
      • Place Of Birth: Antwerp, Belgium
      • Notable Artworks:
        • Monument to Thomas Thynne
        • Roman Catholic Chapel at Whitehall
        • Statue of King Charles II
      • Artistic Movement Or Style: Baroque
      • Artists Who Influenced This Artist: ['Thomas Quellinus']
      • Artists Or Movements Influenced By This Artist: ['Grinling Gibbons']