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Saints Domitilla,Nereus and Achilleus (mk01)
new5/Peter Paul Rubens-496673.jpg
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Saints_Domitilla,Nereus_and_Achilleus_(mk01)
1608
Oil on slate;
425x280cm
167 3/8x110 1/4in
Santa Maria in Vallicella,
Rome.
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The Artist and his Wife in a Honeysuckle Bower (mk01)
new5/Peter Paul Rubens-546327.jpg
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The_Artist_and_his_Wife_in_a_Honeysuckle_Bower_(mk01)
c.1609
Oil on canvas;
178x136.5cm
70 1/8x53 3/4in
Alte Pinakothek,
Munich
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The Adoration of the Magi (mk01)
new5/Peter Paul Rubens-869573.jpg
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The_Adoration_of_the_Magi_(mk01)
1609
Oil on canvas;
346x488cm
136 1/4x192 1/8in
Museo del
Prado,Madrid
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The Crucifixion (mk01)
new5/Peter Paul Rubens-489527.jpg
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The_Crucifixion_(mk01)
1565
Oil on canvas;
536x1224cm
211x481 7/8in
Scuola di San Rocco,Venice
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The Raishing of the Cross (mk01)
new5/Peter Paul Rubens-783738.jpg
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The_Raishing_of_the_Cross_(mk01)
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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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