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The Adoration of the Magi 1608 and 1628-1629
new3/Peter Paul Rubens-676268.jpg
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The_Adoration_of_the_Magi_1608_and_1628-1629
mk61
Oil on canvas
346x438cm
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A Peasant Dance
new3/Peter Paul Rubens-985398.jpg
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A_Peasant_Dance
mk61
Oil on panel
73x106cm
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The Three Graces
new3/Peter Paul Rubens-577594.jpg
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The_Three_Graces
mk61
c.1636-1638
Oil on canvas
221x181cm
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Return of the Peasants from the Fields
new3/Peter Paul Rubens-542635.jpg
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Return_of_the_Peasants_from_the_Fields
mk65
Oil on panel
47 5/8x76 3/8in
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Ulysses on the Island of the Phaeacians
new3/Peter Paul Rubens-438459.jpg
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Ulysses_on_the_Island_of_the_Phaeacians
mk65
Oil on panel
50 3/8x81 1/2in
Pitti,Palatine Gallery
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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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