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Rubens with His First Wife, Isabella Brandt, in the Honeysuckle Bower
Peter Paul Rubens7.jpg
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Rubens_with_His_First_Wife,_Isabella_Brandt,_in_the_Honeysuckle_Bower
1609-10
Alte Pinakothek, Munich
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The Four Philosophers
Peter Paul Rubens8.jpg
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The_Four_Philosophers
1611
]Palazzo Pitti, Florence
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St George and the Dragon
Peter Paul Rubens9.jpg
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St_George_and_the_Dragon
1606-07
Museo del Prado, Madrid
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Deborah Kip and her Children
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Deborah_Kip_and_her_Children
The National Gallery of Art, Washington DC
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Crocodile and Hippopotamus Hunt
Peter Paul Rubens11.jpg
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Crocodile_and_Hippopotamus_Hunt
1615-16
Alte Pinakothek, Munich
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Peter_Paul_Rubens
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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