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The Artist with the Van Noort Family (MK01)
new5/Peter Paul Rubens-638656.jpg
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The_Artist_with_the_Van_Noort_Family_(MK01)
Jacob Jordaens
c1615-16
Oil on canvas;
130.5x159.cm
51 3/8x62 5/8in
Staatliche
Gemaldegalerie,Kassel
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Fohn the Baptist Preacbing (MK01)
new5/Peter Paul Rubens-286598.jpg
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Fohn_the_Baptist_Preacbing_(MK01)
,Adam van Noort
1601
Oil on panel;
97x155cm
38 1/8x61in
Rubenshuis;Antwerp.
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Christ and the Penitent (mk01)
new5/Peter Paul Rubens-268656.jpg
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Christ_and_the_Penitent_(mk01)
SinnersOtto van Veen
1605-7
Oil on panel;
269x214cm
Hessisches
Landesmusem,
Mainz.
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The Artist and his Famil (mk01)
new5/Peter Paul Rubens-452988.jpg
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The_Artist_and_his_Famil_(mk01)
Otto van Veen
1584
Oil on canvas;
176x250cm
69 1/4x98 3/8in
Musee du Louvre,Paris
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Adam and Eve (mk01)
new5/Peter Paul Rubens-574435.jpg
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Adam_and_Eve_(mk01)
C.1598-1600
Oil on panel;
1803.158.8cm
71x62 1/2in
Rubenshuis,
Antwerp
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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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