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The Queen's Reconciliation with Her Son (mk05)
new5/Peter Paul Rubens-297658.jpg
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The_Queen's_Reconciliation_with_Her_Son_(mk05)
Canvas,155 x 116 1/4''(394 x 295 cm)INV 1788
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The Triumph of Truth (mk05)
new5/Peter Paul Rubens-529955.jpg
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The_Triumph_of_Truth_(mk05)
Time raises Truth to take her place at the meeting between mother and son
Canvas,155 x 63''(394 x 160 cm)INV .1789
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The Raising of the Cross (mk05)
new6/Peter Paul Rubens-326395.jpg
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The_Raising_of_the_Cross_(mk05)
Wood,12 1/2 x 14 1/2''(32 x 37 cm)Sketch for part of the ceiling of the Jesuit church in Antwerp;painted in 1620 -1621 and burned down in 1718;bequeathed in 1869
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The Village Wedding (mk05)
new6/Peter Paul Rubens-447843.jpg
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The_Village_Wedding_(mk05)
Wood,581/2 x 103''(149 x 261 cm).Collection of Louis XIV;acquired in 1685 INV
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Tournament Near the Moat of the Chateau du Steen (mk05)
new6/Peter Paul Rubens-842222.jpg
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Tournament_Near_the_Moat_of_the_Chateau_du_Steen_(mk05)
Wood,28 1/4 x 41 1/2''(72 x 106 cm)Collection of Louis XV;acquired in 1742
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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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