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Saint Bavo About to Receive the Monastic Habit at Ghent
new16/Peter Paul Rubens-879336.jpg
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Saint_Bavo_About_to_Receive_the_Monastic_Habit_at_Ghent
mk170
1610-1612
Oil on oak
106.7x82.1cm
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Portrait of Susana Lunden
new16/Peter Paul Rubens-974939.jpg
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Portrait_of_Susana_Lunden
mk170
1622-1625
Oil on oak
79x54.6cm
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An Autumn Landscape with a View of Het Steen in the Earyl Morning
new16/Peter Paul Rubens-378727.jpg
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An_Autumn_Landscape_with_a_View_of_Het_Steen_in_the_Earyl_Morning
mk170
circa 1636
Oil on oak
131.2x229.2cm
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Samson and Delilah
new16/Peter Paul Rubens-446935.jpg
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Samson_and_Delilah
mk170
circa 1609
Oil on wood
185x205cm
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Minerva Protects Pax from Mars
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Minerva_Protects_Pax_from_Mars
mk170
1629-1630
Oil on canvas
203.5x298cm
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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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