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Diana and her Nymphs surprised by Satyrs
Oil on canvas. 1639 - 1640
Rubens, Peter Paul
Diana and her Nymphs surprised by Satyrs
Oil on canvas. 1639 - 1640
Rubens, Peter Paul

Diana the huntress is resting with her court of Nymphs in a clearing in the woods when she is attacked by a group of Satyrs. Rubens turned this painting into a virtuoso exercise in composition. In the foreground, two volumes lead to the rest of the scene: on the left are the hunting trophies attained by the nymphs, and on the right, a reclining nymph with her back to the viewer, one of the most se

Diana and Callisto
Oil on canvas. Ca. 1635
Rubens, Peter Paul
Diana and Callisto
Oil on canvas. Ca. 1635
Rubens, Peter Paul

When Rubens visited the Spanish court in Madrid from late August 1628 until April 1629, he copied many of the numerous paintings by Titian in the royal collection. He was seduced by the radical technique of broken brushstrokes characteristic of the late works of the Venetian, which inspired his own way of painting from this time until his death in 1640. He must also have been drawn by the emotiona

Ceres and Pan
Oil on canvas. Ca. 1620
Rubens, Peter Paul (Workshop Of); Snyders, Frans
Ceres and Pan
Oil on canvas. Ca. 1620
Rubens, Peter Paul (Workshop Of); Snyders, Frans

As goddess of the Earth and agriculture, Ceres is depicted wearing a bundle of wheat spikes on her head. Beside her, Pan, the god of shepherds and herds, has a crown of oak leaves. Ceres symbolizes cultivated nature and Pan, wild nature. The horn of plenty and basket of fruit in their laps alludes to the fecundity and fertility of the Earth, which is strengthened by the fruit and vegetables strewn

Philip II on Horseback
Oil on canvas. 1629 - 1640
Rubens, Peter Paul
Philip II on Horseback
Oil on canvas. 1629 - 1640
Rubens, Peter Paul

A posthumous portrait of Felipe II wearing full body armor, a cape and a hat and riding a horse. Victory crowns him with laurels. The background alludes to a battle, probably that of San Quentín in 1557.Inspired by the knightly ideas of the sixteenth century, this portrait is based on representations of Roman emperors that circulated on Flemish and Italian prints, as well as an image of Car

The Holy Family surrounded by Saints
Oil on panel. Ca. 1630
Rubens, Peter Paul
The Holy Family surrounded by Saints
Oil on panel. Ca. 1630
Rubens, Peter Paul

The Virgin sits with the Christ Child in the midst of grandiose classical architecture. She is surrounded by numerous saints in various positions. Above her, some angels prepare to crown her as Queen of Heaven. This work was sometimes thought to be a representation of The Mystical Betrothal of Saint Catherine, because of the strong presence of that saint, who is depicted kneeling before the Christ

Three Nymphs with a Cornucopia
Oil on canvas. 1615 - 1617
Rubens, Peter Paul; Snyders, Frans
Three Nymphs with a Cornucopia
Oil on canvas. 1615 - 1617
Rubens, Peter Paul; Snyders, Frans

On Rubens’s death in May 1640, the largest collection of his works aside from his own (he was an important art collector and also retained many of his own creations) was that of King Philip IV of Spain. Philip’s attention had primarily been drawn to Rubens by his aunt, Isabel Clara Eugenia. It should be borne in mind that when the young king embarked on his reign in 1621, only a few works by the a

The Garden of Love
Oil on canvas. 1630 - 1635
Rubens, Peter Paul
The Garden of Love
Oil on canvas. 1630 - 1635
Rubens, Peter Paul

We are confronted here with one of Rubens’s greatest gifts as a painter: his ability to create images of a joyful way of being in the world related to love and inspired by ancient literature and Renaissance art. In the case of the latter, this means primarily Titian. This painting is especially close in mood to the Bacchanal of the Andrians and the Worship of Venus. Many features of this scene cal

The Rape of Europe
Oil on canvas. 1628 - 1629
Rubens, Peter Paul
The Rape of Europe
Oil on canvas. 1628 - 1629
Rubens, Peter Paul

Rape of Europa is a faithful copy made by Peter Paul Rubens in Madrid after an original by Titian. It shows the Phoenician princess Europa after she was abducted by Zeus, who had taken on the form of a white bull. The fearful princess, barely holding on to one of the bull´s horns, was taken to Crete, where she bore Minos. The story was told by several ancient sources, among them Ovid (43 BCE-CE 17

The Immaculate Conception
Oil on canvas. 1628 - 1629
Rubens, Peter Paul
The Immaculate Conception
Oil on canvas. 1628 - 1629
Rubens, Peter Paul

Wearing a red tunic, blue robes and a crown of stars, the Virgin treads on a serpent carrying the apple of Sin, in keeping with the customary iconography for this Catholic image. By placing Mary over a globe, Rubens made one of his most striking images of the Immaculate Conception. The two angels carrying a palm and a laurel-leaf crown are a classic reference to Mary´s triumph. References to Class

The Adoration of the Magi
Oil on canvas. 1609
Rubens, Peter Paul
The Adoration of the Magi
Oil on canvas. 1609
Rubens, Peter Paul

When Rubens visited Madrid on a diplomatic mission in 1628-29 he found this painting, which he himself had executed in 1609 for Antwerp city council, and which now belonged to Philip IV’s collection. He made substantial changes to the composition. He added a strip to the top of the scene and another to the right-hand side and adapted the language of the painting to the style he was then using, whi

The Holy Family with Saint Anne
Oil on canvas. Ca. 1630
Rubens, Peter Paul
The Holy Family with Saint Anne
Oil on canvas. Ca. 1630
Rubens, Peter Paul

Peter Paul Rubens, the Flemish Baroque artist, was also a humanist scholar, art collector, and diplomat. In 1628, Rubens went to Madrid to meet with Philip IV, King of Spain (1621-1665), as part of his efforts to negotiate a peace treaty between Spain and England, and during his stay the Flemish artist painted, among other subjects, portraits of the Spanish royal family. A patron of the arts, Phil

Adam and Eve
Oil on canvas. 1628 - 1629
Rubens, Peter Paul
Adam and Eve
Oil on canvas. 1628 - 1629
Rubens, Peter Paul

Eve accepts the forbidden fruit from the hands of the devil, who is half child and half serpent. Sitting on the roots of the tree of Good and Bad, Adam tries to stop her. This is a copy of a painting on the same subject that Titian made for Felipe II (P00429). Rubens saw it during his trip to Spain in 1628 and 1629. In keeping with his own concept of painting, he made significant changes with resp

Hercules killing the Dragon in the Garden of the Hesperides
Oil on canvas. 1639 - 1640
Rubens, Peter Paul (And Workshop)
Hercules killing the Dragon in the Garden of the Hesperides
Oil on canvas. 1639 - 1640
Rubens, Peter Paul (And Workshop)

Rubens painted this scene for Philip IV of Spain. It shows Hercules fighting with the dragon which guarded the Garden of Hesperides, to where the hero had travelled in search of the golden apples that made whoever ate them immortal.

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