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The Triumphal Entrance of Henry IV into Paris
new3/Peter Paul Rubens-756724.jpg
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The_Triumphal_Entrance_of_Henry_IV_into_Paris
mk65
Oil on canvas
149 5/8x272 4/16in
Uffizi,Gallery
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The Three Graces
new3/Peter Paul Rubens-498465.jpg
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The_Three_Graces
mk65
Oil on canvas
18 11/16x13 3/4in
Pitti,Palatne Gallery
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Holy Family with St.Elizabeth
new3/Peter Paul Rubens-784959.jpg
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Holy_Family_with_St.Elizabeth
mk65
Oil on canvas
44 7/8x34 5/8in
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The Temle of Janus
new3/Peter Paul Rubens-245995.jpg
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The_Temle_of_Janus
mk65
ca.1635
Oil on panel
27 1/2x 26"
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The Temle of Janus
new3/Peter Paul Rubens-299579.jpg
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The_Temle_of_Janus
mk65
ca.1635
Oil on panel
27 1/2x 26"
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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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