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Peter Paul Rubens
Summer (mk25)
c 1620
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Peter Paul Rubens
Portrait of A Young Man (mk27)
1597
Oil on copper 8 1/2 x 5 3/4''(21.6 x 14.6 cm)
Metropolian Museum of Art,New York Jock and Belle Linsky Collection 1982
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Peter Paul Rubens
The Judgment of Paris (mk27)
1600-1601
Oil on panel 52 11/16 x 68 11/16''(133.9 x 174.5 cm)
The National Gallery London
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Peter Paul Rubens
Landscape With Carters (mk27)
c 1617 - 1618
Panel Transfered to camas 33 7/8 x 49 3/4''(86 x 126.5 cm)
Hermitage Leningrad
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Peter Paul Rubens
Lion Hunt (mk27)
1621
Oil on canvas 8' 2'' x 12'4 7/16''(249 x 377 cm)
Alle Pinakothek Munich
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Peter Paul Rubens
The Marriage of Constantine (mk27)
Designed 1622 (woven 1623-1625)
Tapestry 16'1'' x 17'11''(490 x 546 cm)
Philadelphia Museum of Art,Philadelphia Given by the Sanuel H Kress Foundation
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Peter Paul Rubens
Portrait of Susanna Fourment ('Le Chapeau de Paille') (mk27)
c 1622-1625
Oil on panel 31 1/16 x 21 1/4'' (79 x 54 cm)
The National Gallery London
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Peter Paul Rubens
Henry Iv Receiving The Portrait of Maria de'Medici (mk27)
1622-1625
Oil on canvas 12' 11 1/16'' x 9' 8 1/8''(394 x 295 cm)
The Louvre Paris
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Peter Paul Rubens
THe Adoration of The Magi (mk27)
1624
Oil on panel 14'8 1/8'' x 11'4 3/16''(448 x 346 cm)
Koninklijk Museum voor Schone Kunsten Antwerp
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Peter Paul Rubens
Albert and Nicolaas Rubens (mk27)
c 1625
Oil on panel 62 1/4 x 36 1/4'' (158 x 92 cm)
Collections of the Prince of Liechtenstein,Vaduz
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Peter Paul Rubens
The Arch of Ferdinand (mk27)
1634
Oil on canvas (Transferred from Panel) 41 x 28 1/2''(104 x 72.5 cm)
The Hermitage Leningrad
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Peter Paul Rubens
Venus and Adonis (mk27)
c 1635
Oil on canvas 77 3/4 x 95 5/8''(197.4 x 242.8 cm)
Metropolitan Museum of Art New York Gift of Harry Payne Bingham,1937
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Peter Paul Rubens
The Fall of Phaethon (mk27)
1636
Oil on panel 11 1/16 x 10 13/16''(28.1 x 27.5 cm)
Musees royaux des beaux-arts,Brussels Bequest of Comtesse de Valencia de Don Juan,Paris,1919
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Peter Paul Rubens
Arachne Punished by Minerva (mk27)
1636
Oil on panel 10 1/2 x 15''(26.7 x 38.1 cm)
Virginia Museum of Fine Arts,Richmond The Williams Fund,1958
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Peter Paul Rubens
The Judgment of Paris (mk27)
c 1635-1638
Oil on panel 57 x 76 1/4''(144.8 x 193.7 cm)
The National Gallery,London
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Peter Paul Rubens
The Horrors of War (mk27)
1637
Oil on canvas 6'9'' x 11'4''(206 x 345 cm)
Palazzo Pitti,Florence
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Peter Paul Rubens
Landscape by Moonlight (mk43)
1637-1640
The Courtauld Institute Gallery,
Somerset House,London
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Peter Paul Rubens
Self-Portrait with his Wife,Isabella Brant
mk52
c.1609
Oil on canvas
178x136.5cm
Alte Pinakothek,Munich
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Peter Paul Rubens
Portrait of the Artist
mk52
1623-4
Oil on wod
86x62.5cm
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Peter Paul Rubens
The Abduction fo Ganymede
mk61
Oil on canvas
181x87cm
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| Peter Paul Rubens
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Flemish Baroque Era Painter, 1577-1640
Peter Paul Rubens (June 28, 1577 ?C May 30, 1640) was a prolific seventeenth-century Flemish Baroque painter, and a proponent of an exuberant Baroque style that emphasized movement, color, and sensuality. He is well-known for his Counter-Reformation altarpieces, portraits, landscapes, and history paintings of mythological and allegorical subjects.
In addition to running a large studio in Antwerp which produced paintings popular with nobility and art collectors throughout Europe, Rubens was a classically-educated humanist scholar, art collector, and diplomat who was knighted by both Philip IV, king of Spain, and Charles I, king of England.
Rubens was a prolific artist. His commissioned works were mostly religious subjects, "history" paintings, which included mythological subjects, and hunt scenes. He painted portraits, especially of friends, and self-portraits, and in later life painted several landscapes. Rubens designed tapestries and prints, as well as his own house. He also oversaw the ephemeral decorations of the Joyous Entry into Antwerp by the Cardinal-Infante Ferdinand in 1635.
His drawings are mostly extremely forceful but not detailed; he also made great use of oil sketches as preparatory studies. He was one of the last major artists to make consistent use of wooden panels as a support medium, even for very large works, but he used canvas as well, especially when the work needed to be sent a long distance. For altarpieces he sometimes painted on slate to reduce reflection problems.
His fondness of painting full-figured women gave rise to the terms 'Rubensian' or 'Rubenesque' for plus-sized women. The term 'Rubensiaans' is also commonly used in Dutch to denote such women.
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