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The Apotheosis of Henry IV and the Proclamation of the Regency of Marie de Medici on the 14th of May
Peter Paul Rubens32.jpg
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The_Apotheosis_of_Henry_IV_and_the_Proclamation_of_the_Regency_of_Marie_de_Medici_on_the_14th_of_May
1622-24
Musee du Louvre, Paris
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Portrait of Marie de Medici
Peter Paul Rubens33.jpg
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Portrait_of_Marie_de_Medici
1622
Museo del Prado, Madrid
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The Raising of the Cross
Peter Paul Rubens34.jpg
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The_Raising_of_the_Cross
1620-21
Musee du Louvre, Paris
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Perseus Liberating Andromeda
Peter Paul Rubens35.jpg
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Perseus_Liberating_Andromeda
1620's
The Hermitage, St.Petersburg
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The Rape of the Daughters of Leucippus
Peter Paul Rubens36.jpg
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The_Rape_of_the_Daughters_of_Leucippus
1618
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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