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Self-Portrait without a Hat
Painting ID:: 30051
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Peter Paul Rubens
Self-Portrait without a Hat
mk67
Ol oncanvas
30 11/16x24in
Uffizi,
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The Judgement of Paris
Painting ID:: 30155
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Peter Paul Rubens
The Judgement of Paris
mk64
c.1638-1639
Oil on canvas
199x379cm
Madrid,Museo Nacional del Prado
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Garden of Love
Painting ID:: 30557
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Peter Paul Rubens
Garden of Love
mk68
Oil on canvas
Madrid,Prado
c.1630-1632
Netherlands
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The Three Graces
Painting ID:: 30568
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Peter Paul Rubens
The Three Graces
mk68
Oil on wood,
Madrid,Prado.
c.1638
Netherlands
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Judgement of Paris
Painting ID:: 30569
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Peter Paul Rubens
Judgement of Paris
mk68
Oil on wood.
madrid,Prado
c.1639
Netherlands
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Peter Paul Rubens
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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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