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Peter Paul Rubens
Ceiling of San Sebastiano (mk01)
Venice
1555-6
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Peter Paul Rubens
Estber before Abasuerus (mk01)
1556
Oil on canvas,
Ceiling of San Sebastiano,
Venice
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Peter Paul Rubens
Esther before Abasuerus (mk01)
1620
Oil sketch for the Jesuit ceiling.
Oil on panel;
48.8x47cm
19 1/4x18 1/2in
Courtauld Institute
Galleries,London
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Peter Paul Rubens
The Felicity of the Regency of Marie de'Medici (mk01)
1625
Oil on canvas;
394x295cm
155 1/8x116 1/8in
Musee du Louvre,Paris.
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Peter Paul Rubens
The Wedding by Proxy of Marie de'Medici to King Henry IV (MK01)
1622-5
Oil on canvas;
394x295cm
155 1/8x116 3/8in
Musee du Louvre,Paris.
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Peter Paul Rubens
The Meeting of Marie de'Medici and Henry IV at Lyons (mk01)
1622-5
Oil on canvas;
394x295cm
155 1/8x116 1/8in
Musee du Louvre,Paris
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Peter Paul Rubens
The Excbange of Princesses (mk01)
1622-5
Oil on canvas;
394x295cm
155 1/8x116 1/8in
Musee du
Louvre,Paris
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Peter Paul Rubens
The Battle of the Milvian Bridge,from The Life of Constantine (mk01)
1623-5
Tapestry;
493x738cm
194x290 1/2in
Philadelphia Museum of Art
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Peter Paul Rubens
Philip IV in Brown and Siver (mk01)
c.1631-2
Oil on canvas;
199.5x113cm
78 1/2x44 1/2in
National Gallery,
London
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Peter Paul Rubens
Charles I in Garter Robes (mk01)
1636
Oil on canvas;
253.4x153.6cm
99 3/4x60 1/2in
Royal
Collection,
Windsor Castle
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Peter Paul Rubens
Gapar de Guzman,Count-Duke of Olivares (mk01)
c.1625
Oil on canvas;
216x129.5cm
85x51in
Hispanic Society of America,New York.
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Peter Paul Rubens
Franceso Maria della Rovere,Duke of Urbino (mk01)
1536-8
Oil on canvas;
114x103cm
44 7/8x40 1/2in
Galleria degli Uffizi,
Florence
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Peter Paul Rubens
Diana and Callisto (mk01)
1556-9
Oil on canvas;
188x203cm
74x79 1/8in
National
Gallery of Scotland
Edinburgh
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Peter Paul Rubens
Diana and Callisto (mk01)
1628-9
Copy after Titian.
Oil on canvas,
Private
collection
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Peter Paul Rubens
The Fall of Man (mk01)
1628-9
Copy after Titian.
Oil on canvas.
237x184cm
93 1/4x72 3/8in
Museo del Prado,
Madrid
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Peter Paul Rubens
Las Meninas (mk01)
1656
Oil on canvas;
318x276cm
125 1/4x108in
Museo del Prado
Madrid
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Peter Paul Rubens
The Family of Sir Balthasar Gerbier (mk01)
1629-30
Oil on canvas,
166x178cm
653/8x 70 1/8in
National
Gallery of Art,
Washington
DC.
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Peter Paul Rubens
Thomas Howard,Earl of Arundel (mk01)
1629-30
Oil on canvas;
122x102cm
48x40 1/8in
Isabella Stewart Gardner
Museum,Boston
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Peter Paul Rubens
The Apotheosis of Fames I and Other Studies (mk01)
C.1630
Oil on panel;
95x63.1cm
37 3/8x24 7/8in
National
Gallery,
London
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Peter Paul Rubens
Landscape with St George and the Dragon (mk01)
1629--30
Oil on canvas;
153x226cm
60 3/4x89in
Royal
Collection,Windsor Castle
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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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