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Fan Caspar Gevaerts (mk01)
new5/Peter Paul Rubens-334395.jpg
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Fan_Caspar_Gevaerts_(mk01)
c.1627.
Oil on panel;
120x99cm
47 1/4x39in
Koninklijk
Museum voor
Schone Kunsten,Antwerp
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The Temple of Fanus (mk01)
new5/Peter Paul Rubens-753775.jpg
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The_Temple_of_Fanus_(mk01)
1634
Oil sketch for
The Entry of Ferdinand.
Oil on panel;
70x68.8cm
27 1/2x27in
Hermitage,
St Petersbury
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The Worship of Venus (mk01)
new5/Peter Paul Rubens-629557.jpg
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The_Worship_of_Venus_(mk01)
15183-20
Oil on canvas;
172x175cm
67 3/4x68 7/8in
Museo del Prado,
Madrid
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The Worship of Venus (mk01)
new5/Peter Paul Rubens-469636.jpg
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The_Worship_of_Venus_(mk01)
c.1635
Copy after Titian,
Oil on canvas;
195x209cm
76 3/4x82 1/4in
National-museum,
Stockholm
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Venus and Adonis (mk01)
new5/Peter Paul Rubens-264775.jpg
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Venus_and_Adonis_(mk01)
1553-4
Oil on canvas;
186x207cm
73 1/4x81 1/2in
Museo del Prado,Madrid
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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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