All RUBENS, Pieter Pauwel's oil paintings
ID Image  Oil Pantings, Sorted from A to Z     Other Information
9012 A Vase of Flowers f A Vase of Flowers f 1706 Oil on canvas, 100 x 81 cm Kunsthistorisches Museum, Vienna
29672 Adoration of the Magi Adoration of the Magi 1618-19 Oil on canvas, 245 x 325 cm
29663 Adoration of the Magi Adoration of the Magi 1626-29 Oil on canvas, 283 x 219 cm
64699 Adoration of the Magi Adoration of the Magi 1626-29 Oil on canvas, 283 x 219 cm Mus?e du Louvre, Paris Artist:RUBENS, Pieter Pauwel Title: Adoration of the Magi, 1601-1650, Flemish , painting , religious
64701 Adoration of the Magi Adoration of the Magi 1618-19 Oil on canvas, 245 x 325 cm Mus?e des Beaux-Arts, Lyon Artist:RUBENS, Pieter Pauwel Title: Adoration of the Magi, 1601-1650, Flemish , painting , religious
8975 Adoration of the Shepherds af Adoration of the Shepherds af c. 1608 Oil on canvas St.-Pauluskerk, Antwerp
29677 Altarpiece of St Ildefonso (right panel) Altarpiece of St Ildefonso (right panel) after 1639 Oil on wood, 352 x 109 cm
29660 Assumption of the Virgin (detail) Assumption of the Virgin (detail) 1626 Oil on canvas
29661 Assumption of the Virgin (detail) Assumption of the Virgin (detail) 1626 Oil on canvas
29673 Battle of the Amazons Battle of the Amazons 1618 Oil on panel, 121 x 166 cm
64702 Bethrotal of St Catherine Bethrotal of St Catherine 1628 Oil on canvas Staatliche Museen, Berlin Artist:RUBENS, Pieter Pauwel Title: Bethrotal of St Catherine (sketch), 1601-1650, Flemish , painting , religious
29674 Boy with Bird Boy with Bird c. 1616 Oil on panel, 49 x 40 cm
8987 Christ on the Cross ag Christ on the Cross ag 1627 Oil on panel, 51 x 38 cm Rockox House, Antwerp
51037 Christ on the Cross between the Two Thieves Christ on the Cross between the Two Thieves 1619-20 Oil on panel, 429 x 311 cm
64613 Christoffel Plantin Christoffel Plantin Oil on canvas Museum Plantin-Moretus, Antwerp Christoffel (Christophe) Plantin (1520-1589), French printer, founder of an important printing house and publisher of the Antwerp Polyglot Bible. Plantin learned bookbinding and bookselling at Caen, Normandy, and settled in 1549 as a bookbinder in Antwerp. A bad arm wound seems to have led him (about 1555) to turn to typography. His many publications were distinguished by their excellent typography, and he was original in using copper, instead of wood, engravings for book illustrations. His greatest venture, the Biblia regia, which would fix the original text of Old and New Testaments, was supported by Philip II of Spain in spite of clerical opposition and appeared in eight volumes during 1569-72. When Antwerp was plundered by the Spaniards in 1576 and Plantin had to pay a ransom, he established a branch office in Paris and then, in 1583, settled in Leiden as the typographer of the new university of the states of Holland, leaving his much-reduced business in Antwerp in the hands of his sons-in-law, John Moerentorf (Moretus) and Francis van Ravelinghen (Raphelengius). But in 1585 Plantin returned to Antwerp and Raphelengius took over the business in Leiden. After Plantin's death, the Antwerp business was carried on by Moretus, but it declined during the second half of the 17th century. All was religiously preserved, however, and in 1876 the city of Antwerp acquired the buildings and their contents and created the Plantin-Moretus Museum. Artist:RUBENS, Pieter Pauwel Title: Christoffel Plantin, 1601-1650, Flemish , painting , portrait
64608 Dance of the Peasants Dance of the Peasants 1636-40 Oil on wood, 73 x 106 cm Museo del Prado, Madrid Artist:RUBENS, Pieter Pauwel Title: Dance of the Peasants, 1601-1650, Flemish , painting , landscape
8979 Daniel in the Lion's Den af Daniel in the Lion's Den af c. 1615 Oil on canvas, 224.3 x 330.4 cm National Gallery of Art, Washington
29664 Descent from the Cross Descent from the Cross 1616-17 Oil on canvas, 425 x 295 cm
64196 Descent from the Cross Descent from the Cross 1612-14 Oil on panel, 421 x 153 cm O.-L. Vrouwekathedraal, Antwerp The outsides of the wings are devoted to St Christopher. According to his medieval legend, the huge St Christopher carried the Christ Child across a river on his shoulders. A hermit on the right lights his way with a lantern. , Artist: RUBENS, Pieter Pauwel , Descent from the Cross (outside left) , 1601-1650 , Flemish , painting , religious
64197 Descent from the Cross Descent from the Cross 1612-14 Oil on panel, 421 x 153 cm O.-L. Vrouwekathedraal, Antwerp The right wing of the great triptych of the Descent from the Cross is devoted to the presentation of the Infant Christ in the Temple at Jerusalem. The elderly Simeon holds the Child in his arms while the prophetess Anna, located in the shadows between Simeon and Mary, looks on joyfully. Joseph, who has brought two sacrificial doves with him, kneels down respectfully. The onlooker on the left edge of this splendid temple interior is Nicolaas Rockox, a friend of Rubens and a prominent figure in Antwerp. , Artist: RUBENS, Pieter Pauwel , Descent from the Cross (right wing) , 1601-1650 , Flemish , painting , religious
64198 Descent from the Cross Descent from the Cross 1612-14 Oil on panel, 421 x 153 cm O.-L. Vrouwekathedraal, Antwerp The outsides of the wings are devoted to St Christopher. According to his medieval legend, the huge St Christopher carried the Christ Child across a river on his shoulders. A hermit on the right lights his way with a lantern. , Artist: RUBENS, Pieter Pauwel , Descent from the Cross (outside right) , 1601-1650 , Flemish , painting , religious
64703 Diana and her Nymphs Surprised by the Fauns Diana and her Nymphs Surprised by the Fauns 1638-40 Oil on canvas, 128 x 314 cm Museo del Prado, Madrid The landscape and the animals were painted by Jan Wildens. Artist:RUBENS, Pieter Pauwel Title: Diana and her Nymphs Surprised by the Fauns, 1601-1650, Flemish , painting , mythological
29665 Diana Returning from Hunt Diana Returning from Hunt c. 1615 Oil on canvas, 136,5 x 182 cm
64704 Drunken Silenus Drunken Silenus 1618 Oil on panel, 212 x 213 cm Alte Pinakothek, Munich *** Keywords: ************* Author: RUBENS, Pieter Pauwel Title: Drunken Silenus, 1601-1650, Flemish , painting , mythological
64707 Fall of the Rebel Angels Fall of the Rebel Angels 1620 Oil on canvas, 448 x 291 cm Alte Pinakothek, Munich Artist:RUBENS, Pieter Pauwel Title: Fall of the Rebel Angels, 1601-1650, Flemish , painting , religious
52048 Head of a Franciscan Friar Head of a Franciscan Friar Oil on canvas
64604 Helena Fourment with a Carriage Helena Fourment with a Carriage 1639 Oil on wood Mus?e du Louvre, Paris *** Keywords: ************* Author: RUBENS, Pieter Pauwel Title: Helena Fourment with a Carriage, 1601-1650, Flemish , painting , portrait
29682 Helena Fourment with her Son Francis Helena Fourment with her Son Francis 1635 Oil on panel
29671 Lamentation of Christ Lamentation of Christ 1617-18 Oil on panel, 138 x 90 cm (central panel), 137 x 48 cm (each side panel)
64572 Landscape with Cows Landscape with Cows 1636 Oil on panel Alte Pinakothek, Munich *** Keywords: ************* Author: RUBENS, Pieter Pauwel Title: Landscape with Cows, 1601-1650, Flemish , painting , landscape
44404 Landscape with Saint George and the Dragon Landscape with Saint George and the Dragon 152,4 x 226,7 cm
64565 Landscape with the Ruins of Mount Palatine in Rome Landscape with the Ruins of Mount Palatine in Rome 1608 Oil on panel, 76 x 107 cm Mus?e du Louvre, Paris Artist:RUBENS, Pieter Pauwel Title: Landscape with the Ruins of Mount Palatine in Rome, 1601-1650, Flemish , painting , landscape
29683 Madonna Enthroned with Child and Saints Madonna Enthroned with Child and Saints c. 1628 Oil on canvas, 564 x 408 cm
64709 Madonna in Floral Wreath Madonna in Floral Wreath 1620 Oil on oak, 185 x 209,8 cm Alte Pinakothek, Munich Religious flower still-lifes are a special category, first developed by the Fleming Daniel Seghers, a pupil of Jan Brueghel the Elder. However, this can be traced back to Rubens's Madonna in Floral Wreath (in which the floral decoration was painted by Jan Brueghel the Elder). This represents a picture within a picture with an authoritative religious significance, encircled by a floral arrangement and cherubs. Unlike Seghers, however, Rubens did not quote Mary and Jesus as historical traditions or pictorial relics. Instead he preferred to give the impression that they were physically present, even though the motif of a picture within a picture would have been ideally suited for illusionist stylization. Artist:RUBENS, Pieter Pauwel Title: Madonna in Floral Wreath, 1601-1650, Flemish , painting , religious
8983 Massacre of the Innocents AF Massacre of the Innocents AF 1621 Oil on panel, 199 x 302 cm Alte Pinakothek, Munich
29686 Meeting of Mary and Elisabeth (detail) Meeting of Mary and Elisabeth (detail) 1612-14 Oil on panel
29684 Mercury and Argus Mercury and Argus 1635-38 Oil on panel, 63 x 87,5 cm
64564 Old Woman with a Basket of Coal Old Woman with a Basket of Coal 1618-20 Oil on wood, 115 x 92 cn Gem?ldegalerie, Dresden Artist:RUBENS, Pieter Pauwel Title: Old Woman with a Basket of Coal, 1601-1650, Flemish , painting , genre
64610 Perseus and Andromeda Perseus and Andromeda 1620s Oil on canvas transferred from wood The Hermitage, St. Petersburg *** Keywords: ************* Author: RUBENS, Pieter Pauwel Title: Perseus and Andromeda, detail of Pegasus, 1601-1650, Flemish , painting , mythological
64710 Perseus Liberating Andromeda Perseus Liberating Andromeda 1639-40 Oil on canvas, 265 x 160 cm Museo del Prado, Madrid This is a late work of Rubens. The unfinished painting was finished by Jacob Jordaens. Artist:RUBENS, Pieter Pauwel Title: Perseus Liberating Andromeda, 1601-1650, Flemish , painting , mythological
64711 Portrait of a Woman Portrait of a Woman Oil on canvas Mus?e des Beaux-Arts, Marseille Artist:RUBENS, Pieter Pauwel Title: Portrait of a Woman, 1601-1650, Flemish , painting , portrait
64569 Portrait of Helena Fourment Portrait of Helena Fourment 1630 Oil on canvas Mus?es Royaux des Beaux-Arts, Brussels Artist:RUBENS, Pieter Pauwel Title: Portrait of Helena Fourment, 1601-1650, Flemish , painting , portrait
64568 Portrait of Marchesa Brigida Spinola Doria Portrait of Marchesa Brigida Spinola Doria 1606 Oil on canvas National Gallery of Art, Washington The painting was done while Rubens was in Genoa in 1606. It was cut down from a full-length portrait in which the young Marchesa (age 22) appears in the porch of a villa. We know this from a study drawing for the portrait, which is in the Pierpont Morgan Library, New York. Artist:RUBENS, Pieter Pauwel Title: Portrait of Marchesa Brigida Spinola Doria, 1601-1650, Flemish , painting , portrait
64192 Raising of the Cross Raising of the Cross 1610 Oil on panel, 460 x 340 cm (centre panel), 460 x 150 cm (wings) O.-L. Vrouwekathedraal, Antwerp Rubens painted the triptych for the high altar of Antwerp's church of St Walpurgis, which was demolished in 1817. That explains the inclusion of Amand, Walpurgis and Eligius on the back side of the wings. The triptych marked Rubens' sensational introduction of the Baroque style into Northern art. The diagonal composition is full of dynamism and animated colour. The artist had just returned from Italy, with the memory of Michelangelo, Caravaggio and Venetian painting still fresh in his mind. The Raising of the Cross is the perfect summation of the unruly bravura that marked his first years in Antwerp. In the centre nine executioners strain with all their might to raise the cross from which Christ's pale body hangs. The dramatic action is witnessed from the left by St John, the Virgin Mary and a group of weeping women and children. On the right, a Roman officer watches on horseback while soldiers in the background are crucifying the two thieves. In other words, the subject is spread across all three panels. The outside of the wings shows Saints Amand, Walpurgis, Eligius and Catherine of Alexandria. The painting was confiscated by the French in 1794 and taken to Paris. It was returned to Antwerp in 1815, following the defeat of Napoleon, and installed in the church of Our Lady. During restoration in the 1980s, successive layers of varnish, which had form an even grey veil over the painting, were removed. The burgeoning talent of the confident young Rubens is more clearly visible now in the intense emotion of the figures, the contrasting lighting, the glow of the labouring bodies and the gleam of the armour and costly robes. , Artist: RUBENS, Pieter Pauwel , Raising of the Cross , 1601-1650 , Flemish , painting , religious
64193 Raising of the Cross Raising of the Cross 1610 Oil on panel O.-L. Vrouwekathedraal, Antwerp The picture shows a detail of the left panel of the triptych. , Artist: RUBENS, Pieter Pauwel , Raising of the Cross (detail) , 1601-1650 , Flemish , painting , religious
64194 Raising of the Cross Raising of the Cross 1610 Oil on panel, 460 x 150 cm O.-L. Vrouwekathedraal, Antwerp Rubens painted the triptych for the high altar of Antwerp's church of St Walpurgis, which was demolished in 1817. That explains the inclusion of Amand, Walpurgis and Eligius on the back side of the wings. According to tradition, Bishop Amand founded that church - Antwerp's first - some time around 650. He features on the outside of the wings in the company of Walpurgis, a 8th-century saint, who supposedly lived for several years as a hermitess in the church's crypt, before becoming abbess of the convent she founded in Bavaria. In the right shutter, Rubens placed St Eligius, the blacksmith and bishop. Eligius was the patron saint of Antwerp's blacksmiths, who had their altar at St Walpurgis. Catherine of Alexandria stands in front of him with her martyr's sword and palm branch. The prominent position she is given in the altarpiece no doubt had something to do with a special devotion in the church, perhaps a confraternity of St Catherine, of which, however, no details are known. , Artist: RUBENS, Pieter Pauwel , Raising of the Cross: Sts Amand and Walpurgis , 1601-1650 , Flemish , painting , religious
64182 Return of the Prodigal Son Return of the Prodigal Son 1618 Oil on canvas, 107 x 155 cm Koninklijk Museum voor Schone Kunsten, Antwerp When Rubens died in 1640, he still possessed his Prodigal Son of 1618. Amongst his many grand altarpieces and dramatic mythological subjects, the creation of this rural scene, intended for his own living room, must have given him a great deal of pleasure. The biblical subject - depicted bottom right - serves merely as a vehicle for the painting of one of his earliest landscapes. , Artist: RUBENS, Pieter Pauwel , Return of the Prodigal Son , 1601-1650 , Flemish , painting , religious
29657 Self-Portrait Self-Portrait 1628-30 Oil on canvas
64609 Self-portrait Self-portrait 109,5 x 85 cm Kunsthistorisches Museum, Vienna This is the last of Rubens's four self-portrait, executed shortly before his death. Artist:RUBENS, Pieter Pauwel Title: Self-portrait, 1601-1650, Flemish , painting , portrait
29666 Small Last Judgement Small Last Judgement Oil on wood, 183,3 x 119 cm
8977 St James the Apostle af St James the Apostle af 1612-13 Oil on panel, 108 x 84 cm Museo del Prado, Madrid
51033 Sts Amand and Walpurgis Sts Amand and Walpurgis 1610 Oil on panel, 460 x 150 cm
51034 Sts Eligius and Catherine Sts Eligius and Catherine 1610 Oil on panel, 460 x 150 cm
63045 Summer Summer 142,8 x 222,8 cm Royal Collection, Windsor The painting is a companion scene to Winter (also in the Royal Collection), although it was only when both pictures were in the collection of Frederick, Prince of Wales, that they seem to have been treated as a pair. X-ray examination reveals that the priming on all the additional pieces of canvas is identical, but differs from that of the central section of this work. It appears that the design on the initial piece of canvas had not been fully resolved in all respects by the time the extra portions were added. The join on the left is on a line with the tall windswept trees, which seem to have been painted over the sky and therefore may be regarded as an adaptation of the original design, which most probably incorporated a clear view through to the horizon. On the right the design has been more radically changed as a result of the addition. A steep bank (still visible to the naked eye) originally closed the composition, but this was painted out so that the horizon could be extended in the upper half and a further group of farm buildings introduced in the middle distance. The addition along the lower edge allowed for the horse and cart in the immediate foreground. In effect, if the additions are discounted, the original composition remains an entity in its own right, but the changes alter the dynamics of the painting, placing greater emphasis on the peasants wending their way to market. The composition of Summer is distinguished. There is an emphasis on contrasting diagonals that reinforces the sense of movement begun by the figures in the foreground. The eye is plunged into the distance across a glorious landscape that is positively pantheistic in its celebration of nature (note the cow being mounted in the centre of the composition). Regardless of differences in scale and style, a telling comparison can be made between Summer and The Flemish Fair by Jan Brueghel the Elder. Interestingly, it has been suggested that the composition of Summer depends upon a lost painting by Pieter Bruegel the Elder entitled On the Way to Market, only known today through an anonymous drawn copy in the Staatliche Graphische Sammlung, Munich. Artist: RUBENS, Pieter Pauwel Painting Title: Summer , 1601-1650 Painting Style: Flemish , , landscape
29680 Tereus Confronted with the Head of his Son Itylus Tereus Confronted with the Head of his Son Itylus 1636-38 Oil on panel, 195 x 267 cm
64195 The Adoration of the Magi The Adoration of the Magi 1624 Oil on panel Koninklijk Museum voor Schone Kunsten, Antwerp , Artist: RUBENS, Pieter Pauwel , The Adoration of the Magi (detail) , 1601-1650 , Flemish , painting , religious
8985 The Adoration of the Magi (detail) f The Adoration of the Magi (detail) f 1624 Oil on panel Koninklijk Museum voor Schone Kunsten, Antwerp
8984 The Adoration of the Magi af The Adoration of the Magi af 1624 Oil on panel, 447 x 336 cm Koninklijk Museum voor Schone Kunsten, Antwerp
64571 The Apotheosis of Henry IV and the Proclamation of the Regency of Marie de Medicis on May The Apotheosis of Henry IV and the Proclamation of the Regency of Marie de Medicis on May 1610 1623-25 Oil on canvas Mus?e du Louvre, Paris *** Keywords: ************* Author: RUBENS, Pieter Pauwel Title: The Apotheosis of Henry IV and the Proclamation of the Regency of Marie de Medicis on May 14, 1610, 1601-1650, Flemish , painting , historical
29668 The Artist and His First Wife, Isabella Brant, in the Honeysuckle Bower The Artist and His First Wife, Isabella Brant, in the Honeysuckle Bower 1609-10 Oil on canvas-covered panel, 178 x 136,5 cm
29678 The Cardinal Infante The Cardinal Infante c. 1634 Oil on canvas, 335 x 258 cm
29675 The Consequences of War The Consequences of War 1637-38 Oil on canvas, 206 x 342 cm
29676 The Consequences of War (detail) The Consequences of War (detail) 1637-38 Oil on canvas
8976 The Crucified Christ af The Crucified Christ af 1610-11 Oil on canvas, 219 x 122 cm Koninklijk Museum voor Schone Kunsten, Antwerp
8973 The Deposition af The Deposition af 1602 Oil on canvas Galleria Borghese, Rome
64706 The Duke of Buckingham The Duke of Buckingham 1625 Oil on canvas, 63 x 48 cm Galleria Palatina (Palazzo Pitti), Florence George Villiers, the 1st Duke of Buckingham (1592-1628), was a royal favourite and statesman who virtually ruled England during the last years of King James I and the first years of the reign of Charles I. Buckingham was extremely unpopular, and the failure of his aggressive, erratic foreign policy increased the tensions that eventually exploded in the Civil War between the Royalists and the Parliamentarians. Artist:RUBENS, Pieter Pauwel Title: The Duke of Buckingham, 1601-1650, Flemish , painting , portrait
29656 The Education of the Virgin The Education of the Virgin 1625-26 Oil on canvas, 193 x 140 cm
29669 The Flagellation of Christ The Flagellation of Christ Oil on panel, 37,4 x 35,1 cm
29662 The Four Continents The Four Continents c. 1620 Oil on canvas. 209 x 284 cm
64605 The Hermit and the Sleeping Angelica The Hermit and the Sleeping Angelica 1626-28 Oil on oakwood, 43 x 66 cm Kunsthistorisches Museum, Vienna The painting is an illustration of one of the episodes of Ariosto's Orlando furioso. Artist:RUBENS, Pieter Pauwel Title: The Hermit and the Sleeping Angelica, 1601-1650, Flemish , painting , other
29688 The Holy Family with St Anne The Holy Family with St Anne c. 1628 Oil on canvas, 115 x 90 cm
8980 The Holy Family with the Basket f The Holy Family with the Basket f c. 1616 Oil on panel, 169 x 128 cm Picture Gallery, Potzdam-Sanssouci
51109 The Incredulity of St Thomas The Incredulity of St Thomas 1613-15 Oil on wood
29687 The Last Communion of St Francis The Last Communion of St Francis 1619 Oil on panel, 422 x 226 cm
51067 The Martyrdom of St Livinus The Martyrdom of St Livinus 1633 Oil on canvas, 455 x 347 cm
29679 The Martyrdom of St Stephen The Martyrdom of St Stephen Oil on canvas
8986 The Meeting of Abraham and Melchizedek fa The Meeting of Abraham and Melchizedek fa 1625 Oil on wood National Gallery of Art, Washington
51035 The Resurrection of Christ The Resurrection of Christ 1611-12 Oil on panel, 138 x 98 cm central panel
51036 The Resurrection of Christ The Resurrection of Christ c. 1612 Oil on panel, 138 x 98 cm
63958 The Road to Calvary The Road to Calvary 1634-37 Oil on canvas, rounded at the top, 569 x 355 cm Musees Royaux des Beaux-Arts, Brussels This painting was commissioned in 1634 for the high altar of the Abbey of Affligem, then one of the most important monasteries in the Low Countries. Tensions inside the monastery may explain why this monumental work was not delivered until 1637. In this production of his mature period, Rubens masterfully combines two artistic traditions. The first of these is that of the large single-frame altarpieces that were to replace the older polyptychs in the Southern Low Countries in the 17th century. With their exceptional scale and their strongly vertical format, they faced artists with the problem of constructing a convincing compositional unity from a series of related themes in a vertical format. As an artist gifted with one of the greatest compositional and narrative talents of his age, Rubens fulfilled his task masterfully. Instead of dividing the painting into an upper and lower register, a solution that he had often applied following Titian, he elects here to represent Christ's ascension to the place of his execution on Calvary in an uninterrupted zigzag movement. The thrust from below to above is achieved both in the colouring, with a balanced rhythm of localised concentrations of colour, and also iconographically, with the successive tableaux of the executioners with the two thieves, the holy women with Mary and Veronica, and ending with the Roman officers on horseback with their flapping pennants. The centre-point of the composition is Christ's face that St Veronica is wiping. Turned towards the viewer, it forms a direct call to the faithful to follow his life and to think on their own sins that had to be redeemed by Christ's suffering. This procedure descends directly from the tradition of devotional art, with small-scale pictures intended for individual meditation. The genius of Rubens' invention lies precisely in the combination of the two pictorial traditions, breathing new life into the ancient devotional tradition within a contemporary, counter-reformation form of altar decoration, whilst at the same time enriching the broad, sweeping movement of such a monumental high altarpiece with the more intimate emotionality of smaller devotional paintings. , Artist: RUBENS, Pieter Pauwel , The Road to Calvary , 1601-1650 , Flemish , painting , religiou
43906 The Three Crosses The Three Crosses c. 1620 Oil on canvas
29658 The Triumph of Victory The Triumph of Victory c. 1614 Oil on wood
29659 The Virgin and Child in a Garland of Flower The Virgin and Child in a Garland of Flower 1621 Oil on canvas, 83,5 x 65 cm
64581 Triumphal Entry of Henry IV into Paris Triumphal Entry of Henry IV into Paris 1627-30 Oil on canvas, 380 x 692 cm Galleria degli Uffizi, Florence This canvas belongs to the unfinished cycle dedicated to Henry IV and shows the king, converted and victorious, entering Paris on 22 March 1594 at the end of a long period of internal struggles. Renouncing any reference to time or place, Rubens illustrates the episode in a complex allegorical context, creating an analogy with the triumph of a Roman emperor. In particular, the group of the crowned king and the architecture of the triumphal arch (derived from the Roman prototype of the arch of Titus), surmounted by soldiers and horses, arise from en evident reinterpretation of Mantegna's painting of Caesar's Chariot. *** Keywords: ************* Author: RUBENS, Pieter Pauwel Title: Triumphal Entry of Henry IV into Paris, 1601-1650, Flemish , painting , historical
29670 Venus in Fur-Coat Venus in Fur-Coat 1630s Oil on wood, 176 x 83 cm
29667 Virgin and Child Virgin and Child Oil on panel, 62 x 50 cm
64698 Virgin and Child Virgin and Child 1620-24 Oil on wood, 65 x 48 cm Mus?es Royaux des Beaux-Arts, Brussels Artist:RUBENS, Pieter Pauwel Title: Virgin and Child, 1601-1650, Flemish , painting , religious
64700 Virgin and Child Virgin and Child 62 x 50 cm St.-Niklaaskerk, Brussels Artist:RUBENS, Pieter Pauwel Title: Virgin and Child, 1601-1650, Flemish , painting , religious
8974 Virgin and Child af Virgin and Child af c. 1604 Oil on panel Mus??e des Beaux-Arts, Tours
8982 Virgin and Child AF Virgin and Child AF Oil on panel, 62 x 50 cm St.-Niklaaskerk, Brussels
8981 Virgin and Child AG Virgin and Child AG 1620-24 Oil on wood, 65 x 48 cm Mus??es Royaux des Beaux-Arts, Brussels
64708 Virgin and Child Enthroned with Saints Virgin and Child Enthroned with Saints 1627-8 Oil on wood, 80.2 x 55.5 cm Staatliche Museen, Berlin This is a sketch for a large altar painting. Artist:RUBENS, Pieter Pauwel Title: Virgin and Child Enthroned with Saints, 1601-1650, Flemish , painting , religious
8978 Virgin in Adoration before the Christ Child f Virgin in Adoration before the Christ Child f c. 1615 Oil on panel, 65 x 50 cm Rockox House, Antwerp
29685 Woman with a Mirror Woman with a Mirror c. 1640 Oil on canvas
RUBENS, Pieter Pauwel
Flemish Baroque Era Painter, 1577-1640 . Related Artists to : | Shinn Everett | Isaac Israels | Edouard Hamman | James Baker Pyne | Niko Pirosmani |