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The Great Salon of Nicolaas Rockox's House (mk01)
new5/Peter Paul Rubens-294625.jpg
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The_Great_Salon_of_Nicolaas_Rockox's_House_(mk01)
C.1630-5
Oil on panel;
62.3x96.5cm
24 1/2x38in
Alte Pinakothek,
Munich
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Samson and Delilab (mk01)
new5/Peter Paul Rubens-478263.jpg
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Samson_and_Delilab_(mk01)
c.1609
Oil on panel;
185x205cm
72 3/4x80 3/4in
National Gallery,
London.
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TheLion Hunt (mk01)
new5/Peter Paul Rubens-884342.jpg
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TheLion_Hunt_(mk01)
c.1621
Oil on canvas;
249x377cm
98x148 3/8in
Alte Pinakothek.
Munich
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The Sacrifice of Isaac (mk01)
new5/Peter Paul Rubens-572767.jpg
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The_Sacrifice_of_Isaac_(mk01)
1620
Oil sketch for the Jesuit ceiling.
Oil on panel;
50x65cm
19 5/8x25 5/8in
Musee du Louvre,
Paris
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The Raising of the Cross (mk01)
new5/Peter Paul Rubens-267828.jpg
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The_Raising_of_the_Cross_(mk01)
1620
Oil sketch for the Jesuit ceiling
Oil on panel;
32x37cm
12 5/8x14 5/8in
Musee du Louvre,
Paris
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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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