Figuring Faith and Female Power in the Art of Rubens

Cover
Title
	Copyrights Page
	Table of Contents
	List of Illustrations
	Acknowledgements
	Prologue
		The Triumph of Thomas Aquinas
		Works Cited
	Introduction
		Figura versus Allegory
		Ways of Proceeding: Frameworks and Formal Concerns
		Works Cited
	1. Samson and Dilemma
			Rubens Confronts the Woman on Top
		Isabella Brant: Marrying Up
		Rubens in Love
		Early Modern Marriage and the Subjection of Women
		Painting, Man, and Wife
		Formal Matters: The Man on Top
		Until Death
		Works Cited
	2. Making Assumptions
			Marian Tropes after Italy
		Cross-Dressing
		Assumptions
		The Figure of the Madonna
		Expression and Lactation
		Juno and the Peacock
		Caught Between
		Works Cited
	3. Maria de’ Medici and Isabel Clara Eugenia
		Part 1: Recycling Sovereignty—Maria de’ Medici
		A Task for Two Cities
		Staging Success: Themes and Settings
		Paintings for the Palace: Rubens in Paris
		Embodying the Christian Prince
		Part 2: Figuring Faith and Female Power—Isabel Clara Eugenia
		The Isabelline Image
		Pious ‘Captaine’: Isabel’s Image-Making after Breda
		Doctoring the Church: Isabel and the Defenders of the Eucharist
		Isabel’s Canonical Image
		Beyond Madrid: Patronage, Prints, and Posterity
		Works Cited
	4. Peace Embraces Plenty
			Queering Female Virtue at Whitehall
		A Flemish Catholic in the Caroline Court
		Rubens’s Yale Oil Sketch
		Virtues ‘Compact Together’
		Veronese and the Daughters of God
		Ripa, Rubens, Rubsters
		Glory, Laud, and the New Jerusalem
		Works Cited
	5. All That Depends on Color
			Feminizing Rubens in the Seventeenth Century*
		Rubens, Painting, Gender
		Style Makes the Man
		Practicing Venice
		Rubens and Italian Criticism after Caravaggio
		Good Venetian Color: Seventeenth-Century Critics and Rubens’s Second Manner
		Something Wanting in his Nature: Rubens and Bellori
		Everything that Depends on Coloring
		Works Cited
	Epilogue
		Works Cited
	About the Author
	Index
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