All RUBENS, Pieter Pauwel 's Paintings

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Choice	ID	Image	Painting (From A to Z)	Details
	9012		A Vase of Flowers f	1706 Oil on canvas, 100 x 81 cm Kunsthistorisches Museum, Vienna
	29672		Adoration of the Magi	1618-19 Oil on canvas, 245 x 325 cm
	29663		Adoration of the Magi	1626-29 Oil on canvas, 283 x 219 cm
	64699		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	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	c. 1608 Oil on canvas St.-Pauluskerk, Antwerp
	29677		Altarpiece of St Ildefonso (right panel)	after 1639 Oil on wood, 352 x 109 cm
	29660		Assumption of the Virgin (detail)	1626 Oil on canvas
	29661		Assumption of the Virgin (detail)	1626 Oil on canvas
	29673		Battle of the Amazons	1618 Oil on panel, 121 x 166 cm
	64702		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	c. 1616 Oil on panel, 49 x 40 cm
	8987		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	1619-20 Oil on panel, 429 x 311 cm
	64613		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	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	c. 1615 Oil on canvas, 224.3 x 330.4 cm National Gallery of Art, Washington
	29664		Descent from the Cross	1616-17 Oil on canvas, 425 x 295 cm
	64196		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	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	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	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	c. 1615 Oil on canvas, 136,5 x 182 cm
	64704		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	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	Oil on canvas
	64604		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	1635 Oil on panel
	29671		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	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	152,4 x 226,7 cm
	64565		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	c. 1628 Oil on canvas, 564 x 408 cm
	64709		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	1621 Oil on panel, 199 x 302 cm Alte Pinakothek, Munich
	29686		Meeting of Mary and Elisabeth (detail)	1612-14 Oil on panel
	29684		Mercury and Argus	1635-38 Oil on panel, 63 x 87,5 cm
	64564		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	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	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	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	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	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	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	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	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	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	1628-30 Oil on canvas
	64609		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	Oil on wood, 183,3 x 119 cm
	8977		St James the Apostle af	1612-13 Oil on panel, 108 x 84 cm Museo del Prado, Madrid
	51033		Sts Amand and Walpurgis	1610 Oil on panel, 460 x 150 cm
	51034		Sts Eligius and Catherine	1610 Oil on panel, 460 x 150 cm
	63045		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	1636-38 Oil on panel, 195 x 267 cm
	64195		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	1624 Oil on panel Koninklijk Museum voor Schone Kunsten, Antwerp
	8984		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	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	1609-10 Oil on canvas-covered panel, 178 x 136,5 cm
	29678		The Cardinal Infante	c. 1634 Oil on canvas, 335 x 258 cm
	29675		The Consequences of War	1637-38 Oil on canvas, 206 x 342 cm
	29676		The Consequences of War (detail)	1637-38 Oil on canvas
8976		The Crucified Christ af	1610-11 Oil on canvas, 219 x 122 cm Koninklijk Museum voor Schone Kunsten, Antwerp
8973		The Deposition af	1602 Oil on canvas Galleria Borghese, Rome
64706		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	1625-26 Oil on canvas, 193 x 140 cm
29669		The Flagellation of Christ	Oil on panel, 37,4 x 35,1 cm
29662		The Four Continents	c. 1620 Oil on canvas. 209 x 284 cm
64605		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	c. 1628 Oil on canvas, 115 x 90 cm
8980		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	1613-15 Oil on wood
29687		The Last Communion of St Francis	1619 Oil on panel, 422 x 226 cm
51067		The Martyrdom of St Livinus	1633 Oil on canvas, 455 x 347 cm
29679		The Martyrdom of St Stephen	Oil on canvas
8986		The Meeting of Abraham and Melchizedek fa	1625 Oil on wood National Gallery of Art, Washington
51035		The Resurrection of Christ	1611-12 Oil on panel, 138 x 98 cm central panel
51036		The Resurrection of Christ	c. 1612 Oil on panel, 138 x 98 cm
63958		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	c. 1620 Oil on canvas
29658		The Triumph of Victory	c. 1614 Oil on wood
29659		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	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	1630s Oil on wood, 176 x 83 cm
29667		Virgin and Child	Oil on panel, 62 x 50 cm
64698		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	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	c. 1604 Oil on panel Mus??e des Beaux-Arts, Tours
8982		Virgin and Child AF	Oil on panel, 62 x 50 cm St.-Niklaaskerk, Brussels
8981		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	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	c. 1615 Oil on panel, 65 x 50 cm Rockox House, Antwerp
29685		Woman with a Mirror	c. 1640 Oil on canvas

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