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The Martyrdom of Saint Ursula and the Eleven Thousand Maidens
new23/Peter Paul Rubens-994799.jpg
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The_Martyrdom_of_Saint_Ursula_and_the_Eleven_Thousand_Maidens
oil on panel painting by Peter Paul Rubens
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Romulus and Remus
new23/Peter Paul Rubens-856775.jpg
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Romulus_and_Remus
Medium Oil on canvas
Dimensions 210 X 212 cm
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Perseus and Andromeda
new23/Peter Paul Rubens-937996.jpg
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Perseus_and_Andromeda
Medium Oil on canvas
Dimensions Expression error: Missing operand for *99.5 ?? 139 cm
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Ildefonso altar
new23/Peter Paul Rubens-849735.jpg
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Ildefonso_altar
um 1630/1632
Mittelteil: 352 x 236 cm
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Reuige Magdalena und ihre Schwester Martha
new23/Peter Paul Rubens-845745.jpg
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Reuige_Magdalena_und_ihre_Schwester_Martha
um 1620
Oil on canvas
205 x 157 cm Rahmenmaße: 239,5 x 192 x 11,2 cm
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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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