Rubens

The Four Continents by peter paul rubens (1614)

209 cm × 284 cm (82 in × 112 in)

Dutch Baroque

Rubens’ work is more known for its writhing, active forms and vivid color. Instead, this is a quiet work. However, the figures still maintain the artist’s trait of overlapping and intertwining figures and their physiques are Rubenesque—thick and muscular, and pulsating with vitality, even the females. This painting is an allegory of the world and was a popular theme at the time. The four known continents, Europe, Africa, Asia and America (both North and South) are represented by young, beautiful goddesses. They are escorted by older men who symbolize the major rivers within those regions. In classical art, river gods are usually depicted as older men leaning on overturned water urns.

With her dark skin, Africa in the most obvious. She is in shadow, just left of center. Most of her body is hidden with only her head and shoulders visible. Europeans were most familiar with the northern part of Africa but sub-Sahara was a mystery. With her upper body revealed but her lower section still in the darkness of the unknown, this woman could represent the enigmatic “Dark Africa”. Her male companion is the Nile with his crocodile. A wreath of some plant is on his head. It’s hard to make out. There were several plants associated with the Nile. The papyrus, the lotus are the most well-known and have been symbols of Egypt since the First Dynasty. Another possible candidate could be wheat as Egypt was the breadbasket of the Roman Empire. Since this work relies on classical imagery and connotations, the Roman reference is possible. Three putti play on the crocodile. Putti are little cherub-like attendants of Venus and Cupid. I’m not sure why they’re here. They may reference the love affairs of Cleopatra, but I’m not convinced of this idea.

The tigress identifies the couple to the far right as Asia and possibly the Indus. He could also represent the Euphrates, but the tiger leads me to believe the god is the great Indian river instead. The animal is ferocious and protective. She snarls at the crocodile who threatens her cubs.

Europa and the Danube are on the upper left. Europa is the highest figure in the composition, a place of honor and importance in art. Of all the females, she is the most exposed. She is also the brightest of all the figures. In a lot of art with this subject, Europa is “Queen of the Continents”. She sits high above the others, crowned by the gods, and revered by all Creation. Rubens is more subtle here than others of this type but there is no mistaking this figure’s prominence. Many of the lines, such as the line connecting the four heads on the right lead to her. A few of the figures even look in her direction. They make a shape resembling the Nike swoosh and Europa is at its bend. All movement and composition lead back to her.

The last continent, America, should then be the couple in the right center. She is the most hidden of the group. This may represent the idea of the still largely unexplored New World. I think the river god symbolizes the Mississippi or possibly the Hudson. The Dutch sponsored an exploration of the river commanded by Henry Hudson less than a decade before this painting was completed. The excitement of the campaign would still be fresh in Dutch imagination. Could this painter from the Netherlands resist putting in a nod to national pride? Whichever river he is, he is more obscure than America. This is the youngest couple in the group, representing its recent addition to the European view of the world.

I like how each of the river gods’ urns are different and that the Danube holds an oar instead. It emphasized his navigability and importance to European life. He stands out. It’s also interesting that the Nile’s urn is decorated with classical garlands, but Indus’ and Mississippi’s are plain. The garland on the Nile’s urn, a popular decorative theme in ancient Rome, adds support to the idea that his crown is made of wheat. Mississippi’s urn looks like it’s made of terra-cotta, a low-quality medium, possibly symbolizing the primitiveness of the American civilizations, as seen by Europeans of the time.

The Danube and Europa display an intimacy missing from the other three couples, but he seems submissive to her. The other couples embrace but ignore their partners. Asia and America whisper together. Africa is more interested in the viewer, and she has this charming Mona-Lisa grin. What is she smiling about? The Mississippi and Indus are lost in thought, but the face of the Nile is hidden—maybe symbolizing the idea that the Nile’s source was unknown at the time? Finally, in the background is Oceanus. In Classical cosmology, all land is surrounded by a vast ocean. In this painting, Oceanus wraps around the setting. It borders the figures on three sides providing a nice, tight frame for the composition, pulling everything together.

This work is cared for by the Kunsthistorisches Museum in Vienna, Austria.